There's a scene in Wasted Orient, a documentary about a Chinese punk band, where the singer is having a laugh with his band mates when suddenly he stands up, leans over a rail, and pukes his guts out. The camera moves in for a close-up of him heaving. When he stops, it pans down to show a pool of liquid and half-digested noodles. "This is beef noodles," he says, laughing. Next scene: The band, obviously inebriated, playing a show, its young audience chanting, "We want beer! We want beer! We want beer!"
Filmmaker Kevin Fritz chose to film the band Joyside - a group of apathetic, binge-drinking youths if there ever was one - because he wanted to make a documentary showing what he believes is the real China. Not the China of gleaming skyscrapers and astonishing economic growth that's romanticized in the mainstream media, but the China he inhabits: a place where there're frequent power outages; where his computer is made from counterfeit hardware and it is impossible to find software that isn't pirated; and where most young people, according to Fritz, are deeply unhappy.
"I always wanted to do a documentary to show China as it actually is, not how people with political and business aspirations hope it to be," he says by phone from Beijing on Wednesday. "People are a little bit more confident and honest when they've had a little bit" to drink, "so I felt they (Joyside) would be the most forthright people to explain China to a foreign audience."
"I didn't try to make anything overly intelligent. All I wanted to do is make a simple film and have something be honest. And basically tell all these other journalists - I'm not a journalist, I consider myself film editor - that this is a big middle finger to all of them because they make out China to be something that it's not," he says.
Wasted Youth follows Joyside on its first national tour, through gritty clubs and grittier cities. In most scenes, it seems, band members are either getting drunk or talking about how life sucks. When they sing, it's about how they want beer and sex or about how life sucks. Joyside's binge-drinking and apathy are so extreme that the band is a parody of itself, and the viewer gets the impression that they're mugging for the camera.
According to Fritz, they weren't. "They all acted the same as they did if the camera wasn't on," he says. "That's the point right there: They're trying to do their best and make rock 'n' roll part of this society, but it fail over and over again for any number of reasons, the obvious ones I can't go into [on the phone from China with a reporter in Taiwan]."
Fritz got his start as a filmmaker editing tractor maintenance videos. He applied for an overseas scholarship as a joke and ended up at Peking University. He met Joyside in 2003 and filmed the documentary in 2005 and 2006. Wasted Orient won the 2007 New Haven Underground Film Festival Best Picture award.
As a subject representing modern China, "I think they (Joyside) were great," he says. "These guys can be quite gloomy." Despite outward appearances, "I think there's a lot of people [in China] who are very unhappy here. But I don't think my film does justice to that feeling, because it might get me in trouble [with the government]. I only hint at it. I think it's depressing."
For Fritz, one of the film's key scenes comes after the "I want beer" concert. Joyside's former guitarist, who is Japanese, is standing on a bridge at night, smoking cigarettes, sipping on a tall bottle of beer, and talking in Mandarin about the state of Chinese rock 'n' roll.
Then he switches to English: "OK, you play your rock 'n' roll, I will play mine," he says. "I will just play my guitar."
He laughs, takes a swig from his beer, shrugs his shoulders, and walks away.
Wasted Orient screens tomorrow at 8:30PM the Paris Night Club (夜巴黎舞廳), 5F, 89, Wuchang St Sec 2, Taipei City (台北市武昌街二段89號5樓). The venue is above the IN89 (Hoover) movie theater in Ximending; and on May 4 at 2pm at Hsinchu Municipal Image Museum (新竹影像博物館), 65 Chungcheng Rd, Hsinchu City (新竹市中正路65號), tel: (03) 528-5840. Tickets are NT$200 or NT$150 with valid student ID. Copies of Wasted Orient can be purchased online at www.plexifilm.com. Joyside's Web site is www.myspace.com/joyside.
Nov. 11 to Nov. 17 People may call Taipei a “living hell for pedestrians,” but back in the 1960s and 1970s, citizens were even discouraged from crossing major roads on foot. And there weren’t crosswalks or pedestrian signals at busy intersections. A 1978 editorial in the China Times (中國時報) reflected the government’s car-centric attitude: “Pedestrians too often risk their lives to compete with vehicles over road use instead of using an overpass. If they get hit by a car, who can they blame?” Taipei’s car traffic was growing exponentially during the 1960s, and along with it the frequency of accidents. The policy
Hourglass-shaped sex toys casually glide along a conveyor belt through an airy new store in Tokyo, the latest attempt by Japanese manufacturer Tenga to sell adult products without the shame that is often attached. At first glance it’s not even obvious that the sleek, colorful products on display are Japan’s favorite sex toys for men, but the store has drawn a stream of couples and tourists since opening this year. “Its openness surprised me,” said customer Masafumi Kawasaki, 45, “and made me a bit embarrassed that I’d had a ‘naughty’ image” of the company. I might have thought this was some kind
What first caught my eye when I entered the 921 Earthquake Museum was a yellow band running at an angle across the floor toward a pile of exposed soil. This marks the line where, in the early morning hours of Sept. 21, 1999, a massive magnitude 7.3 earthquake raised the earth over two meters along one side of the Chelungpu Fault (車籠埔斷層). The museum’s first gallery, named after this fault, takes visitors on a journey along its length, from the spot right in front of them, where the uplift is visible in the exposed soil, all the way to the farthest
The room glows vibrant pink, the floor flooded with hundreds of tiny pink marbles. As I approach the two chairs and a plush baroque sofa of matching fuchsia, what at first appears to be a scene of domestic bliss reveals itself to be anything but as gnarled metal nails and sharp spikes protrude from the cushions. An eerie cutout of a woman recoils into the armrest. This mixed-media installation captures generations of female anguish in Yun Suknam’s native South Korea, reflecting her observations and lived experience of the subjugated and serviceable housewife. The marbles are the mother’s sweat and tears,