With The Wild Goose Lake, Chinese writer/director Yi’nan Diao (Black Coal, Thin Ice) cements his reputation as a filmmaker who uses every cinematic tool at his disposal.
His Hitchcockian tale of gangster Zenong Zhou (Ge Hu) on the run from both sides of the law after accidentally killing a cop features consistently crisp cinematography, energetic storytelling via frequent edits to new locations and fresh camera angles, and expertly staged action sequences.
Reminiscent of Ridley Scott’s Cormac McCarthy-penned The Counselor, with its pulpy, flashback-friendly narrative, unsavory characters and wildly creative, Takashi Miike-like death scenes — including one with an umbrella that has to be seen to be believed — the film’s core strength remains its steady stream of engaging visuals.
From police in light-up sneakers converging on a crime scene to a nighttime visit to a zoo, every shot has purpose and is packed with artistry, down to the seemingly simple administration of a bandage.
In such a thoroughly engaging cinematic milieu, The Wild Goose Lake’s somewhat convoluted narrative can easily be forgiven, as can the stuffiness of Zhou’s initial scenes with the potentially untrustworthy Liu Aiai (Gwei Lun-mei).
Despite these hiccups, Diao leans on his immense directorial gifts to such a successful extent that his film could be about a box of stolen teddy bears and it would still be top-notch entertainment.
Available to rent starting April 10 via grailmoviehouse.com and pisgahfilm.org
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