Writer & Director: Fog Forest
Producer: Shaohui Hangfu
Starring: David Dai, Jing Mu, Shuxian Ren

Synopsis

Forest Fog’s The End of Wind blows coldly on the idea of hope. The film begins with someone resolving to commit suicide. It ends with someone achieving that resolution. Everything that happens must transpire between these monolithic boundary stones, inside the interstices of this bleak territory.

Review

The narrative emerges from introducing the crises of three characters, each originating independent of the others. At first, you cannot tell whether the actions portrayed are co-located or geographically dissociated. You begin to collect hints. The hints appear progressive but asynchronous. You deduce that the characters are proximate. But something is wrong with the time. What does that mean?

The filmmaker answers the question with sudden energy. The narrative threads not only touch, but tangle. Each character briefly experiences hope. Each realizes that perhaps their combined forces might contravene the rules of inevitability.

Watching, you also feel a glimmer of hope, but cautiously. You have become aware that the filmmaker is manipulating your reading of the situation. He is attempting to disorient your conjectures. He knows you hope for a happy ending. He has warned you that will not happen.

Boundary stones define each person’s fate. But boundaries do not necessarily dictate each person’s path. As unique beings, we retain choice. We can exert revolve in seeking the solitary resolution to individual crisis. One may choose self-destruction. One may choose transmutation. One may choose an unknown road. One may choose.

Forest seems to suggest that it may be better to embrace the hopelessness of one’s confines rather than pursue heartbreak by attempting escape. That’s not an optimistic message. Yet, perhaps that approach is less of a capitulation than a formula for survival.

Is the resolution each character embraces in The End of Wind hopeful or hopeless?

The filmmaker suggests that one may obtain a personal optimism in the face of a hopeless situation. If one has the desire to survive, one must accept the proximity of death. If one accepts the proximity of death, survival acquires a more liminal purpose.

5 star review

Next screening VUE Piccadilly 
Tue 2nd Oct 13:15

mm

About 

Dr. Bennett McClellan has spent his professional career emerged in various aspects of media and entertainment. He spent the first half-dozen years after leaving university writing, directing and producing theatre. After earning his MBA from Harvard Business School, he went into management consulting, focusing on the entertainment industry. He sidelined that professional to earn his MFA in theater, film and television from UCLA. After graduating, he took on executive roles with Hanna-Barbera Productions, the Los Angeles Philharmonic, and Nickelodeon’s west coast animation studio. He then returned to consulting as a Managing Director for PricewaterhouseCooper’s entertainment practice in Los Angeles. After finishing his PhD in 2010, he shifted to India to help start up a half dozen university programs, including a filmmaking academy, and then migrated to Vietnam.