Perpetual Motion was promoted (and sold) as a Chinese version of Sex and the City. Though this reviewer looked in vain for any trace of sex, or city for that matter (a house serves as the sole location). False advertising aside, the plot is of interest: Niuniu is convinced that her husband has had an affair with one of her acquaintances; to discover the truth, she invites three of her girlfriends, each of whom is a suspect, to a Spring Festival celebration. Indeed, Director Ning Ying has devoted most of her effort to the narrative; Perpetual Motion is almost as devoid of production values as it is of sex. Admittedly, the point here is substance over style, but the film’s cheap look undermines its appeal, and the message. But what exactly, is the message? If Ning Ying’s aim was to present a new, feminist representation of women, she went astray; the film is more of series of sessions with a psychoanalyst: a sort of group-therapy where the main characters are neurotic, manipulative, haughty and pompous. The screenwriter hasn’t helped. Perpetual Motion is full of stereotypes – the very thing Ning is supposedly trying to fight against. Take this line, for example: “Americans aren’t romantic enough, while French are too romantic.” Ahem.
Beijing Happy Village

(c) that's Shanghai Magazine
Chief editor: Steven Crane
May 2006 issue