Why Wang Baoqiang’s Chinese Movie A Touch of Sin (2013) Is a Cinematic Mirror of Modern China
Introduction: A Provocative Masterpiece
Directed by Jia Zhangke (Still Life, Ash Is Purest White), A Touch of Sin (天注定) stands as one of the most audacious Chinese films of the 2010s. Premiered at Cannes in 2013, where it won Best Screenplay, this anthology drama interweaves four violent tales inspired by real-life incidents. Wang Baoqiang’s role as Zhou San, a motorcycle-riding migrant worker turned vigilante, challenges his comedic persona and anchors the film’s unflinching critique of social inequality .
- The Film’s Structure: Four Faces of Desperation
-A Touch of Sin* adopts a mosaic narrative, drawing parallels to Quentin Tarantino’s Pulp Fiction but rooted in Chinese sociopolitical realities:
- Dahai’s Rebellion (Jiang Wu): A coal miner’s fight against corruption in Shanxi Province.
- Zhou San’s Rampage (Wang Baoqiang): A migrant worker’s descent into highway robbery.
- Xiaoyu’s Defiance (Zhao Tao): A sauna receptionist battling gender-based violence.
- Xiaohui’s Escape (Luo Lanshan): A factory worker’s tragic pursuit of dignity.
Wang’s segment, set along dusty highways, uses minimalist dialogue to convey the alienation of China’s 260 million migrant workers . His cold-eyed performance—a stark contrast to his Detective Chinatown slapstick—reveals a nation’s fractured moral compass.
- Wang Baoqiang’s Transformation: From Comedian to Antihero
Known for rural comedies like Lost in Thailand (2012), Wang’s casting as Zhou San shocked audiences. His character’s silence speaks volumes:
- Physicality Over Words: Zhou San communicates through actions—loading guns, counting cash, and staring into the void. Wang’s robotic movements mirror the dehumanizing effects of capitalism.
- Symbolic Costuming: A red motorcycle helmet (representing rage) and a Mao-era jacket (nostalgia for lost ideals) create visual tension .
- Critical Reception: The Hollywood Reporter noted, “Wang’s departure from comedy marks a career-defining risk that pays off tragically.”
- Jia Zhangke’s Directorial Vision: Brutal Poetry
Jia blends documentary realism with mythic symbolism:
- Violence as Language: Shootouts are choreographed like Peking opera—stylized yet visceral.
- Animal Motifs: Horses, snakes, and slaughtered fish recur as metaphors for trapped lives.
- Landscapes of Contrast: Glittering cities clash with derelict villages, visualizing China’s urban-rural divide .
- Cultural Context: Taboo Themes and Censorship
-A Touch of Sin* faced a limited release in China due to its controversial themes:
- Worker Exploitation: The Dahai storyline references the 2012 Foxconn suicides.
- Gender Inequality: Xiaoyu’s arc critiques the “mistress culture” among China’s elite.
- Censorship Irony: The film was temporarily banned, yet its pirated DVDs circulated widely, becoming a symbol of resistance .
- Global Relevance: Why International Audiences Should Watch
- Universal Themes: The pursuit of dignity transcends borders—compare Zhou San to Taxi Driver’s Travis Bickle.
- Aesthetic Innovation: Jia’s mix of long takes and sudden violence influenced directors like Bong Joon-ho (Parasite).
- Historical Record: The film documents China’s “lost decade” of rapid growth and moral decay.
Where to Watch and Further Exploration
- Streaming: Available on Criterion Channel and MUBI with English subtitles.
- Double Features: Pair with Still Life (2006) for Jia’s filmography study, or Nomadland (2020) for global labor parallels.
- Academic Perspectives: UC Berkeley’s China Film Studies Journal analyzes its use of wu xia (martial chivalry) tropes in modern settings .
Conclusion: A Film That Demands Reflection
-A Touch of Sin* is not entertainment—it’s a confrontation. Wang Baoqiang’s haunting performance and Jia Zhangke’s fearless storytelling make this 2013 Chinese movie essential viewing for anyone seeking to understand 21st-century China’s contradictions. As globalization reshapes societies worldwide, Zhou San’s silent scream echoes far beyond the Middle Kingdom.