Finding Mr. Right film review

Finding Mr. Right film review

Finding Mr. Right is a romantic comedy film written and directed by the Legendary Xue Xiaulo. The film, which came out in the year two thousand and thirteen, was a box-office hit and had a running time of one hundred and twenty minutes. The cinematography, which is the art of photography as well as camerawork in a film, was done by Chan Chi-ying, and it was a marvelous feat. Finding Mr. Right was edited by Cheung ka-fai, and the plot flows seamlessly. The first showing of the film was in Hong Kong on the 14th of February the year 2013. The film was released to theatres in China on the 21st of March that same year. The film was released in singled out theatres in the United States of America in November the same year. Jiajia has to fly to Seattle after getting pregnant with the child of a very unscrupulous businessman man in Beijing who is her boyfriend and who also appears to be married. Jiajia flies to Seattle so that she can avoid legal issues back in China by giving birth in an illegal maternity center. She is picked by a taxi driver named Frank, who also doubles up as a doctor, as soon as she lands at the Seattle-Tacoma International Airport. It happens that Frank also went to Seattle to look after his daughter, whereas his estranged Ex-wife, who also works for a pharmaceutical company as a manager, is planning to relocate to the United States of America. As she carefully listened to Frank’s story, Jiajia cast her mind back to the time when her father had a problem of the heart and acknowledged him as a cardiologist who is well known and celebrated.

After a shaky start, Jiajia slowly grew closer to Frank, his daughter, as well as the women who were in the maternity center. Jiajia has to survive without the monetary support from his boyfriend since the rogue businessman was caught up in a lawsuit, and as a result, his assets were frozen. With time, little by little, Frank and Jiajia became closer to each other, and they started developing feelings for each other. This was short-lived as the Jiajia’sJiajia’s boyfriend, after leaving his wife and getting out of the lawsuit, sends his driver to Seattle so that he can bring back the baby and Jiajia back to China and that is how they went separate ways with Frank. The life of Jiajia is showered with immense luxury, but it does not have the affection as well as the care she got when she was with Frank, and this makes the relationship not to work. Jiajia breaks up with her boyfriend, and she resorts to get underway with a cooking website so that she can earn money to support herself as well as the baby. Her ex has no intention whatsoever to support them, and he finds himself going back to his wife.

On the other hand, Frank recollects himself and puts his life together and starts working as a doctor again. It has been two years since Frank parted ways with Jiajia and he decides to take a photo of him and her daughter on the top of the Empire state building and send it to Jiajia who also send her picture with her son, and they come to find out that they are actually in the same place. They meet on top of the Empire State building, do dome catching and join hands, starting a relationship. This film planted Xue Xiaolu on the map as a mainland filmmaking talent that should be reckoned with. The story has a cultural particularity, and that bestows it a feel that is unique and a slight degree of dramatic heft, and its mixed-up parts are stitched together with bold confidence that feels of a piece with the vanquishing spirit of the protagonist. The high-definition widescreen images of Chan Chi-ying have an acuteness of detail that atones for the somewhat camera movement as well as the televisual framing. The vastly shot production of Vancouver has an exceptional feel for Pacific Northwest suburbia, conflicting with the comprehensive flickering view of Beijing glimpsed in a few transient scenes.

Suzhou River is a devastating love story, and its setting is in modern Shanghai. Although it is stylistically clear-cut, the film is typical of the Chinese filmmakers of the sixth generation in its theme of the gritty urban experience of China in the present day. The film was written as well as directed by Lou Ye, and it came out in the year two thousand. Wang Yu did the quintessential cinematography, and Karl Riedl edited the film. The film was co-produced by Dream Factory from China as well as Essential Films from Germany. The stars of the film Jia Hongsheng are a man who has an obsession with getting a woman from his past and Zhou Xun in a dual role as two different women. Rather than taking the flamboyant and posh new face of Shanghai as its background, the film opted for the riverside architecture of disorderly built-up buildings of factories and warehouses that have been deserted along the Suzhou River. Suzhou River was not screened in China, but it was well-received in overseas.

The story treads on the heels of four people who are at the margins of Chinese society as well as their momentary lives. The film opens with a monologue from an incognito videographer on the onymous Suzhou River as well as love. Regardless, the videographer is never seen aside from his hands, and as the narrator of the film, the camera performs duties as his first-person outlook for the audience. He commences by giving out a romance story of himself and Meimei, who was a performer in Shanghai at a dive bar. Meimei works and earns a living by wearing a mermaid costume and a blonde wig, and she goes swimming at the Happy Tavern, and he talks about his love for her and how Meimei vanishes day at a time, leaving him heartbroken every time. He then gets down to relating the story of a motorcycle courier and a small-time offender, Mardar, and the daughter of a wealthy businessman, Moudan. Mardar is employed by Moudan’sMoudan’s father to carry Moudan around town whenever the father brought one of his mistresses home. Amid their brief encounters in his motorcycle, the two develop feelings for each other and fall in love. Moudan unacquainted that Mardar, together with lawbreaker Lao B as well as his preceding lover Xiao-Ho is involved in a kidnapping scheme. Lao B and Xia-Ho give directives to Mardar to take Moudan to a deserted warehouse while they organize to collect the ransom money, and as soon as they have the cash, Lao B denounces Xia-Ho and kills her. When all of these unfolded to Moudan, she jumped into the Suzhou River, and then Mardar is arrested and imprisoned for her death, although the body of Moudan is never found.

Years passed, and Mardar goes back to Shanghai, and he carries on his work as a courier. In one of the nights, he stumbled upon Meimei in the Happy Tavern. Mardar is reassured beyond a reasonable doubt that she is his lost love, and he seeks out the narrator to tell his story after first spying on her in her dressing room. Mardar then tells his affair with Moudan to Meimei, and she became infatuated with her story and takes him to bed. Mardar then finds out the real Moudan working in a convenience store, and the film comes to a conclusion with the ambiguous death of Moudan and Mardar, leaving the viewer to interpret and determine whether it was suicide or pure accident. The videographer and Meimei spend a night together before Meimei vanishes again, leaving a note behind that if he truly loved her like Mardar loved Moudan, he will be able to find her, but the videographer chooses not to look after her. The film achieved both as a seductive enigma that is teasing and full of downplaying nourish touches as well as a solemn melodrama about love as well as a loss with a final act that was disastrous and emotionally resonating. The Visual style that was brought into play by Wang Yu was controlled by the setting and tone of the story, and the jumpy editing by Karl Riedl intensifies the material’s edgy feel.

If You Are The One is a Chinese romantic comedy filmed that premiered in the year two thousand and eight, and that was written as well as directed by the celebrated film director Feng Xiaogang. The film has become one of the topmost films of Feng Xiaogang to date, and it has amassed success at the Chinese box office. The film is a distracting urban amusement about a couple that was so unlikely coming together through sports an affable cast, blind dates as well as untaxing plot. The presence of Ge You in the film If You Are The One is as essential as a mascot. He is a master of the brand of Feng of brilliant one-liners with dead-on timing as well as a humorous blend of self-deprecation and cockiness. He plays the role of Qin Fen, who is a United States expatriate who wants to find love as well as get married in Beijing, which is his native homeland. After many years overseas, Qin Fen makes a return to China. While at his stay abroad, he did not get any degree, but he was good at persuading others. Quin Fen becomes a multimillionaire after selling an invention that was “innovative” to an angel capitalist who was of high profile but also stupid. He now had wealth, and this made him bid goodbye to his bachelor’s life, so he decided to go online and advertise for suitable marriage partners. In his quest, he encounters an innumerable number of numerous candidates who were interested. They included a saleswoman from the cemetery who had an extreme accent from the southern-Chinese part, a former workmate of him who was homosexual, a widow who was asexual, an ethnic minority pecking hen, a trader who is involved in stock-holding as well as a single expectant mother.

In the fullness of time, he crossed path with Liang Xiaoxiao, who was an air stewardess and the lovelorn flight attendant from the third blind date and who had a love affair that was excruciating with a married man by the name Fong. While he was in Hangzhou, Liang Xiaoxiao went along with Qin Fen as a secret observer on yet another blind date of his, and in return, Qin Fen agreed to accompany Liang Xiaoxiao to confront her married lover at his home. Qin Fen is instantaneously smitten with Liang Xiaoxiao. In a humorous way, Qin Fen then wraps his compliments in layers of sarcasm, and he mocks insincerity. Qin Fen starts an unforeseen friendship with Liang, which develops into an intimate relationship with the condition that the two will date, but the heart of Liang Xiaoxiao will forever be with her previous lover. They get swiped up and decided to disclose to each other their disastrous pasts. This is the one point that the film has become involved in an emotional level that was heartfelt. Qin Fen is determined to absolutely woo her. Liang Xiaoxiao is determined to move on with his life, and in due course, she asks Qin Fen to accompany her to Hokkaido in Japan so that he can help her get over her lover and it is during this trip to Hokkaido that their business-like arrangement blossomed into love. The instigation of an old friend of Qin Fen and tour guide clearly brings out the subject matter of midlife loneliness as well as male friendship. Nonetheless, neither this nor the persistent humorous antics by Qin Fen connect much with the emotional swerve of the journey, and this made the last part of the romance feel like a road movie that is filled with a multitudinous number of detours. The art of photography, as well as camerawork in the film, was down by Lu Yue, and it is a masterpiece. Lu Yue captures locations that are outdoor as superb and as lovely as the pages of an in-flight magazine. But like any romantic relationship, theirs is far from being perfect, and yet Qin Fen, in his own idealistic way, is wise enough to realize the real thing when he comes across it.