Presented in competition at 74° Venice Film Festival in Venice, Angels wear white the second is the work of young Chinese director Vivian Qu.
Mia and Wen are two girls of sixteen and twelve years, each of which has been forced to grow up before their time. Mia is an orphan, He does not know the exact date of birth and works as a cleaner and receptionist at a hotel by the sea. His life will change when, by one of the surveillance monitors, assist the aggression of two girls from the hotel manager. One of these girls is the small Wen.
Two stories that parallel, two young girls forced to live their age is not, the strong desire to regain their lives. And never stop chasing their dreams. No stories easy to digest, that any mass in scena da Vivian Qu. and yet, despite the harshness of the events, Despite the dramatic nature and scope of the issues addressed, note - right in line with the oriental poetry - a kind of poignant, but never boring or excessive, lyricism bottom. And then the camera, by discreet and affectionate look, It does not withdraw almost never the two young protagonists, remaining in an internal narrative dimension to their perception of events: are rare moments - one of them, dialogue between Wen's parents - where none of the two girls is present in the scene. Particularly suitable are, therefore, the intense close-ups, or the average fields that show us the two girls apparently aimlessly wandering on the beach, or admire, From the bottom to the top, the immense statue of Marilyn Monroe, Nearby hotel. Statue which symbolizes, in fact, childhood, dreams, a bright future. In short words, the perfect size that every child should live. And it must be defended at all costs.
Beyond the universal themes treated, But, Angels wear white Ranked as faithful portrait of the contemporary world especially for the important - but never cumbersome - the presence of technologies within the narrative: is the phone that Mia, at the opening of the film, photographing the statue of Marilyn; It is through a monitor that realizes the same aggression suffered by the two girls. The act of seeing through a screen, big or small, Here it is observed with deep awareness, exactly how postmodernism wants this done.
Beyond the success of the feature film, beyond the impact it can have on the public, But, enough the final scene - in which we see Mia running on a motorbike and go out of date, the highway, by a van carrying the now damaged statue of Marilyn - to make Angels wear white an unforgettable film. A scene that is above another of the many gifts that Cinema wanted us. And who will guard jealously within us.
marina fears