Abstract
This chapter focuses on Lou Ye's Suzhou River (2000). This film adds urban environmental content to the scope of ecocinema studies and offers a highly productive opportunity for theorizing the ecocritical import of cinema form. This is especially true because Suzhou River diverges formally in a number of ways from other films directed by Lou Ye's Sixth Generation contemporaries. Unlike the appeal to stark realism, Lou Ye exploits the cinema aesthetic in Suzhou River to explore the ways people formally synthesize the fragmented experience of life in contemporary Shanghai into a coherent narrative in order to survive in this dynamic and often volatile urban environment.
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