Yang Fudong: Seven Intellectuals in a Bamboo Forest Asia Society New York City March 3-September 13, 2009 Yang Fudong's epic five-part film cycle, Seven Intellectuals in a Bamboo Forest (2003 07), made its museum premiere in the United States this summer at the Asia Society in New York City, presenting viewers with a rare twenty-first-century Proustian world of lengthy, meditative reflections on the passage of life. The film cycle begins with a reenactment of an ancient Chinese tale in which individuals from the third century leave their bureaucratic jobs and move to a bamboo forest in hopes of achieving a pure intellectual lifestyle. In Part I, we meet seven modern intellectuals of the urban generation who go on an excursion to the scenic Yellow Mountain. The group, two women and five men, are poster children for China's yuppie bourgeois. They are passionate lovers, sentimental poets, stylish philosophers, and sometimes reckless narcissists with grand ambitions and high ideals. Each was born trapped in an emotional uncertainty and their irresolvable contradictions continued by pre-existing cultural paradigms. For example, the seven try to evade the notion of responsibility, which is vitally important in Chinese culture. As one intellectual quietly confesses, I'm selfish. I feel sorry for my parents. For the one I love, I left my family. In this first film, lasting under thirty minutes, Yang already displays his signature filmic elements the choice of black-and-white 35mm film stock, the almost confession-like long narration, the quiet slowness, the photographic documentation of movements resembling Chris Marker's La Jetee (1962), and the surreal, dreamlike situations intermingling with reality. We listen to the characters take turns narrating pieces of their streams of consciousness, and their words arc slow but thoughtful, sometimes hesitant and unsure, sometimes heroic and Utopian. Yang invented a new life for them on screen, free from the urban jungle to which they belonged, and free from themselves. While exchanging deep gazes and romantic love gestures, the seven remain completely silent. As a part of the urban generation, Yang is fascinated by the idea of spiritual transcendence, something often lauded and pursued by ancient Chinese intellectuals. Part I of the cycle is arguably the purest chapter as it pursues a clear picture of the honesty, nakedness, and unpolluted humanity through the experiences of the seven. This type of existence sought by Taoist thinkers illustrates a dream that seems too good to be true, and, thus, is unsettling and almost disturbing upon awakening. Yang is not satisfied with the dream, however, but. desires to explore its aftermath. …