Eleven,which layedatthe2001VeniceFilmFestival,isthefirstshortfilmofdirectorZhangLu.Heisaforty-year-oldwriterwhoseworksengagewithissuesofculturaldifferencestemmingfromhisownbackgroundasamemberoftheKoreanculturalminorityinChina.Elevenisafourteen-minutelongvignette,virtuallysilent,ofaneleven-year-oldboy'sencounterwithagrou ofsoccer layershisownage.Setinanarid, ost-industriallyuglywastelanddominatedbyavastslaghea ,thefilmo enswiththeboyandanolderman,whomightbehisfather,emergingfromarailwaytunnelandarrivingnearasmallhut.Themanre lacesalightbulb(showninextremeclose-u ),settleshimselfintoachairoutside,andseemstofallaslee .Theboysetsu afewrocksasgoal osts,andwatchesagrou ofkidsa earwithasoccerball.They ractice;hefetchestheball.Hewatchesfromtheslaghea .Theycallhimto laygoaltender.Hestands,oddly assive,astheyscorethroughhislegs.Theyyellathim;hekickstheballthroughhisowngoal.They ileonto ofhimandseemtobeathim.Atnight,hedigsahole,and utstheballinit..Theman,nowawake,arriveswithamassivebulldozer,andfillsthewholewithdirt.Creditsroll. Thereisnodialogue:justshoutingboys,andoccasionalscra sofquietlyeffectiveatonalmusiconthesoundtrack.Thecamerabarelymoves:mostscenesarefilmedinasinglelongtake,atasubstantialdistancefromtheaction.Thedirector'seyeandsenseoftimingfeelmasterful:framing,oftinyfiguresagainstgrim,uglyindustrialbackgrounds,managestobestarkly,almostclassicallybeautiful.Scenesarecuttoanidiosyncraticrhythmthatis rovocativelyslow,yetfeelsabsolutelyright.ThereissomethingherereminiscentofChenKaige'sKingoftheChildren(Haiziwang,1987):amonumental,iconicuseofvisualsymbolism,andana reciationofthe owerofsilenceandem tinessthatcan, aradoxically,fillascreenwithasenseof oetry 《
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