Whether or not daring and persistent within a job of documentary-design artwork reality so you can replicate authenticity and you will immediacy, Destroyed in Beijing and Blind Slope are unsuccessful regarding unveiling an solution feminist cinema one reflects the specifics of the low-metropolitan women whose identities come into ongoing crises while they discuss classification, gender, and you will liberty inside the an effective postsocialist community “filled that have knowledge out-of fragmentation and you will stress along with the awakening of brand new desires and you will identities” (McGrath 2008, 2). A great deal more especially, if you find yourself each other video clips contextualize its narratives in this disjointed postsocialist realities, it prove ineffective within representations of females once the subjects which have societal sex businesses, because the both videos are not able to discuss low-urban ladies’ criteria since molded by the intersectionalities of them postsocialist truth. Rather, Shed in the Beijing and you may Blind Slope was powerfully similar to films on ladies in the very last century within their mind-orientalizing and you may performatively eroticizing cinematographic techniques and you will visual appearance, the same as Zhang Yimou’s before projects, together with Enhance the Red-colored Lantern (1997) and never One to Less (1999), or other Fifth Generation directors’ really works, including Ermo (1994) of the Zhu Xiaowen. Ergo, given that Shuqin Cui truly argues, non-urban ladies “are nevertheless a body image in lieu of a personal entity” (2010, 191). The women from inside the Li Yu and you will Li Yang’s clips will always be eroticized, silenced, and commodified.