Only the River Flows - The Unreleased Chinese Noir in 2K

In rural China in the mid-90s, a murder investigation progressively transforms into something far more complex. With Only the River Flows, Wei Shujun revives the atmosphere of classic noir to depict a society riddled with secrets and contradictions, relying on a narrative that prefers unease to conventional suspense.

The protagonist Ma Zhe (Zhu Yilong), head of the local criminal police, investigates the death of a woman whose body is found along a river. What seems like a case destined for a quick resolution takes an unexpected turn, leading the detective to doubt the testimonies collected. The search for a possible serial killer thus becomes a personal matter, destined to compromise even his relationship with his pregnant wife.

Noir with atmospheres suspended between Bong Joon-ho and Sean Penn

The old cinema housing the police station is a particularly felicitous choice by Wei Shujun. The projection booth becomes Ma Zhe's office, while the auditorium is used as an operational center. A solution that also takes on a narrative value, considering the importance of images and recorded testimonies in the evolution of the investigation. The investigation recalls, in terms of atmosphere and narrative construction, Memories of Murder by Bong Joon-ho, especially in how the investigative work intertwines with the contradictions of a small rural community. For the protagonist's progressive isolation and the psychological weight of the search for truth, the notable The Pledge by Sean Penn might come to mind. The film participated in Cannes 2023.

The cinematography by Chengma Zhiyuan helps recreate a rural environment far from any idealization. The images have a rough texture, with brown tones and often undefined light, a choice consistent with the historical period and the atmosphere of the story. In the final part, Wei Shujun significantly alters the narrative register, introducing visionary sequences linked to Ma Zhe's most intimate fears. This turn does not seek reassuring explanations and leaves the viewer to ponder what has been seen.

The artistic-technical choices are interesting for a film primarily shot analogically (Arriflex 416) on Super 16 mm negative with triple sensitivity (50, 250, and 500 ASA), while the dream sequences were filmed digitally (Arri Alexa) at native 2.8K resolution, with the final master finalized at 2K resolution. Original image format 1.85:1 (1920 x 1080/24p), AVC/MPEG-4 encoding on a single-layer BD-25. The handling of the film's 102 minutes is very good, alternating moments with more prominent grain and overall a rather solid hold, despite transitions with even incipient speckles. The darker transitions are no less, with a certain emphasis on details.

Unreleased in Italy, the work is presented in original language Dolby Digital 2.0 (224 kbps) and DTS-HD Master Audio 5.1 (16 bit), the latter to be preferred to allow the entire soundtrack to breathe more, including dialogues, music, and echoes from the rear channels. As an extra, the Italian trailer is included.