It is a film about the meaning of life. Where will we live? Where does growth delusion? Actual life in harmony with nature and natural processes or alienation? Families, tear people from their roots? Harm the livelihoods earth wherever it only goes? In the film, plump traditional Mongolian life and Mongolian-Chinese Modern successive hard. Only the hero and his family have stable roots in the traditional way of life. All other figures reveal despair, resignation, search for salvation or even narcissistic Neureich-being. Far Eastern abstruse be (held in this country for typical Asian) as completely nonsensical Mummenschanz and arrant ethno kitsch shown. Simple and so powerful images, dialogues with reduction to really Necessary, economical movements, alleged lengthiness characterize the film. All the more impressive are the images if historical roots and the present are interwoven into one. Here are the modern man - of course with the Western values - demonstrated. The polemical art prophets of minimalism in the West will be shown what is really minimalism. The film has for! the minimalist images, because! the scarce dialogues, because! the description of the most natural life processes an overwhelmingly forceful message. The facial expressions and gestures of the accordion-playing daughter has really blew me away.
However, hardly anyone in the West will solve the blessings of the "Modern" want and prefer to watch as its traditions and roots are systematically destroyed. Not only in the West is now important to watch the grass grow on the smartphone. Ultimately, the film falls optimism difficult.
Note about the other reviews: 1. Animals that are to be eaten, must be killed. 2. The TV is powered by a wind turbine generator. The comic is the metal spiral antenna. 3. The hero is subject not to the lure of the city - on the contrary! 4. In the film there is no rape scene. (These are available in Western European or North American S & M clubs, commonplace in TV, comic books, ... - but as noted's hardly even an observer, because it's so obvious) is precisely the supposed modern, destructive self-evident castigates the film!