Jia Zhangke's debut charts those left behind by encroaching modernism. We follow a pickpocket, doing the only thing he knows how to do and the only thing that has brought him anything. The cinematography is cold and impersonal, a dirty look too with overtones of brown and beige. It's all very washed out and sad, a reflection of our protagonist's state.

Around the edge of the film, we see change. Yet, we see more destruction and loss than we see progress. People are being turfed out of places, having to spend above their means to facilitate the progression of others and generally being left behind by societal drift. At points, we have the technological icons of modernity, frequent cuts to television for example. Here, television is a judgemental device, laying blame on people or showcasing privilege.

Our protagonist also has artefacts of modernity. He has a trusty lighter that plays a tune when he sparks it. The tune is a tinny, monophonic version of Fur Elise. The modern rendition robbing the grandeur. This tune played through a lighter becomes a depressing joke, the joke turns on our character when the battery dies. Much like this light, our lead is becoming a useless affectation. His spark is running out. Later, when he is forced to watch a television in an unfortunate circumstance, the same tune plays at him. This is just after his pager going off leads to trouble and also when he is denied the ability to even look at it. This man does not fit in this world.

But what is this world? Elements of progress, and for whom, are questioned. Smoking is ever present in the film. People are even quizzed about what they smoke and why. The cigarettes of choice are the imported ones, a denotation of wealth. Later on a character asks why these cigarettes are more expensive, is it the quality of the tobacco? No, they are told, these are actually the cheapest cigarettes in the US. It's all empty posturing.

This is a film full of yearning an dissatisfaction. A prime social portrait scored with resonant songs and aching sadness.