In the grand tradition of contemporary Chinese independent cinema, a woman heads to the big city to make her fortune in the new economic world order and is eventually forced to resort to prostitution in Belgian filmmaker Olivier Meys’ feature debut, Bitter Flowers. The significant difference this time around is that the city is Paris and the story is about the woman, not her boyfriend (see: Zhao Dayong’s The High Life), and is told from her point of view. Suggesting Beijing can’t provide for its own could make the film a hard sell in China, though the Belgium-Switzerland-France-China co-production could...
- 10/24/2017
- by Elizabeth Kerr
- The Hollywood Reporter - Movie News
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