DVD of the Week: “Taking Father Home”

One of the best directors to get his start in the last few years, Ying Liang, whose first feature, “Taking Father Home” I discuss in this clip, is unable to return home to China because of fear of arrest on political grounds. Several months ago, I passed along word of the plight that had resulted from the première of his new feature, “When Night Falls.” Here’s an update from the Bangkok Post, from last week, where the director is presenting the film. In that piece, Ying speaks frankly of his situation:

“I have only two choices at present: stay outside of mainland China, or return,” he says. ”The first choice can ensure my safety. If I were to take the second option now, I would lose my freedom. I’m not all that worried about this, but I need to carefully consider whether this decision would result in something worthwhile.”

The journalist Kong Rithdee describes the film that has aroused such turmoil, writing that it is

based on a controversial real-life case of Yangjia, a man who became a symbol of political bitterness and resistance when he was arrested and beaten for riding an unlicensed bicycle.

Yangjia made repeated complaints about the beating—all went unheard—and the police continued to harass him. In 2008, Yangjia killed six policemen with a knife and was sentenced to death.

"When Night Falls," however, tells the story through the perspective of Yangjia’s mother, Wang Jingmei, a grieving woman who, in a labyrinthine complication connected to state apparatus, is inexplicably sent to a mental hospital and detained for 143 days while her son is on trial.

He adds that Ying’s film “has a line that mentions Ai Weiwei,” the artist who is enduring persecution in China. I haven’t seen “When Night Falls”; it was shown a few weeks ago at the Locarno Film Festival, where Ying won the prize for Best Director. I’ve written here—enthusiastically—about his first three features, including “Taking Father Home.” As seen in this clip, Ying’s artistry is notable for his spontaneously choreographic eye, his attention to heartbreaking detail, and his apocalyptic imagination. He is, simply, one of the best young directors in the world, and I figured that “When Night Falls” would be a lock for this year’s New York Film Festival. Imagine my surprise when the title didn’t appear on the festival’s main slate. Of course, it’s possible that the film wasn’t submitted—in which case, I suppose that it wouldn’t have hurt to ask. I have no idea how these things are done; but it should be a priority of New York cinephiles to get the movie shown here, somewhere, soon, together with Ying’s other work (Film Society of Lincoln Center showed his films “The Other Half” and “Good Cats” in 2009).