Caught by the Tides Review

Capturing the past on film is a difficult task. Cities change over time, and a city that once had no skyscrapers can become a concrete jungle, with buildings casting dark shadows over the land. Many films have tried to recreate the past, whether by using CGI or building realistic, time-accurate sets. Jia Zhang-ke’s latest film, Caught by the Tides, spans over 20 years, showcasing events from 2001, 2006, and 2022. What sets this film apart is that, instead of shooting new footage for the 2001 and 2006 scenes, Jia Zhang-ke chose to reuse old footage from his previous films to create this new work of art. It is an experimental approach that I believe is both the film’s greatest strength and its weakness.

Caught by the Tides follows Qiaoqiao (Zhao Tao), who is in love with Bin (Li Zhubin). After dating for a while, Bin decides to break up with Qiaoqiao and move to a different city. Years later, Qiaoqiao decides to try to find Bin and reconnect with this lost love. Meanwhile, another story unfolds in the background—the story of the modernization of China and how it affects the lives of its citizens.

Reusing old footage was a brilliant idea, to be frank. Instead of recreating the past, we see the past as it was, creating the feeling of entering a time machine. It accurately showcases what China was like back then. The contrast between the smaller, more run-down aesthetic of the past and the blistering skylines of today perfectly highlights how China’s modernization forced many people to relocate, essentially packing their entire household into a handful of bags. It serves as a haunting reminder of how the impoverished are disproportionately affected during these times.

That aspect of the presentation is fantastic; however, the same cannot be said for the narrative, or rather, the lack of one. What I described earlier is barely conveyed until the latter half of Caught by the Tides. While it is hinted at in the first half, it is mainly communicated through on-screen text. Since new dialogue wasn’t recorded, much of the first half feels more like a documentary, where we witness events in the lives of these characters, rather than a traditional narrative. While some may find this approach effective, I found it more bewildering than a passionate portrayal of love.

This is why I feel this experimental approach is both a benefit and a hindrance. It perfectly captures the essence of the story’s sacrifice. However, this critique doesn’t apply to the events taking place in 2022. All that footage was shot exclusively for the film, and it is a more effective way of conveying the themes of love and modernization. We see how the pandemic and the last 20 years have transformed China. One scene between Qiaoqiao and a store robot assistant is particularly powerful.

This is made by one of the best Chinese filmmakers working today, and seeing that even after 20 years Zhang-ke is still willing to take risks and challenge audiences is truly remarkable. Visually, Caught by the Tides is stunning, with the combination of 35mm and digital photography creating a vivid image.

I just wish the narrative had kept me more engaged, as there is an incredible film here, but I feel it is hampered by the lack of dialogue for the new story. Caught by the Tides is a visionary film that doesn’t entirely stick the landing, but one I deeply respect.