Tokyo International Film Festival 2021
Jeonju International Film Festival 2022
Pema Tseden, Lei Wang
Jinpa, Kunde, Dargye Tenzin, Wang Zheng
Mani Stone Pictures
A blizzard is about to hit the Tibetan Plateau. Distraught forest ranger Sangyue (Tibetan cinema mainstay Jinpa) wakes up groggy and moody from an inebriated late night. Disoriented, he starts recounting his dreams—as he usually does—in the cabin’s journal, when a bloody man (Wang Zheng) barges in claiming to be a forestry officer on the trail of a poacher. Skeptical, Sangyue suspects the man to be the poacher who has caused a major wreck nearby… but also questions his dull senses. Soon Kunbo (Kunde), his booze buddy from the night before, walks in bearing further contradictory news… joined by a fourth—armed—man who also claims to be a cop. And what of the ghostly deer in the doorway? Who’s who doesn’t begin to cover it.
Jingme Trinley’s striking feature debut, produced by Tibetan new wave master (and Trinley’s father) Pema Tseden (JINPA, BALLOON), unfolds with razor-sharp precision, like a Tibetan spin on THE HATEFUL EIGHT. But where Tarantino’s huis-clos, double-crosses and Mexican stand-offs are usually talky, snarky affairs, Trinley’s is a disorienting, hazy, even dreamlike experience announced by a dissonant score and carried by an angular mise-en-scène and enigmatic tone that perfectly matches its protagonist’s uncertain headspace, perhaps an onset of cabin fever. Add a dash of surrealism and mysticism to the proceedings, and it’s safe to say neo-Western ONE AND FOUR is a peculiar, captivating experience: the arrival of a rare blockbuster talent from the region. – Ariel Esteban Cayer
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In a beautiful cabin by a lake, three women search for healing.