During the early 2000s a bit of a gang war starts to brew. One leading member named Bin (Liao Fan) gets attacked and nearly killed before his girlfriend Qiao (Zhao Tao) steps in with a gun. When the police arrive Qiao is thrown into prison for five years for possession of an illegal firearm. When she is released she discovers some major changes in China, and also a distant Bin. He has moved on and has forgotten the code of the gangster. Now he spends his days hiding from his past. But Qiao is going to prove how strong she really is and survive despite this heartbreak. 

That is the “basic” plot for the labyrinth of mood and emotion that is ASH IS PUREST WHITE (2018). It’s a deeply layered experienced with themes of loss, change, and in an untranslated sense, Jiangsu, which as critic Glenn Kenny describes as a “code of ethics” for Robertebert.com. But at its heart, this is a love story with two spectacular performances from Zhao Tao and Liao Fan. On its first viewing you may miss the various period details of a changing China, with more government control, but that works for the film’s favor. Each viewing can show a new layer, a new feeling. 

ASH comes from director Jia Zhangke, who has recently become one of the hot new filmmakers in world cinema. Being one of the leading “Sixth Generation” directors of China, Zhangke brings an understanding of film history and how to show a transitional story without pandering nostalgia. The film uses a song from John Woo’s THE KILLER (1989) performed by Sally Yeh, which like “California Dreaming” in Wong Kar Wai’s CHUNGKING EXPRESS (1994), takes on a different meaning which each time it plays. It showcases the glory days of when triad adventures ruled the box office. From there the film is playful with serious long takes and odd bits of human awkwardness. 

The cinematography by Eric Gautier and the soundtrack by Giong Lim give ASH a mellow almost Jean-Pierre Melville vibe with an exciting mix of neon colors and offbeat jazz. The camera moves and editing keep the movie going with it’s New Wave style. Luckily no scene feels too long. It’s all timed just right.

But the film’s strongest asset is the powerful performance of Zhao Tao (Zhangke’s MOUNTAINS MAY DEPART, SHUN LI AND THE POET). The whole film rests on her somber feeling as she grows into a strong business woman who outgrows her past love affairs. Tao turns even the subtlest gester into an emotional gut punch. No spoilers, but the final haunting shot gets its intensity just from her body language. As Bin, Liao Fan (BLACK COAL THIN ICE) also gives a stunning performance as the less than likeable former gangster. His slow descent into being a broken man in another of the film’s treasures. 

The good folks at Cohen have released ASH IS PUREST WHITE on a handsomely produced Blu-ray. There are two audio tracks in Mandarin. First up is the 5.1 Dolby digital mix. The sound design is kept in all of its glory with no hiss or pops. Giong Lim’s haunting score is clear and plays during the main menu. I hope this gets an official release as well. The second track is the slightly softer 2.0 Stereo mix. English, French, and Chinese subtitles are included. In terms of picture, the 1080p HD transfer is nearly spotless with a sharp focus. 

Extras are limited to the original trailer and interesting Hour long interview with director Jia Zhangke. It was hosted at the 56th New York Film Festival and is loaded with good material, minus some spotty camerawork. 

ASH IS PUREST WHITE is a haunting and poetic drama that is sure to stick with me for years. This Blu-ray comes highly recommended. Now I need to get myself better equated with Zhangke’s other films. 

Director- Jia Zhangke

Cast- Zhao Tao, Liao Fan

Country of origin- China/ France/ Japan

Discs- 1

Distributor- Cohen Media Group

Reviewer- Tyler Miller