The Art of Motion Director Zhangís ëHouse of Flying Daggersí Offers Dazzling Action by Ky N. Nguyen Zhang Yimouís "Hero," the top-grossing movie in Chinaís history, sat on Miramaxís shelf for so long (two years) that it just finished its successful run in Washington. Hopefully, the fresh memory will encourage audiences to see Zhangís latest film, "House of Flying Daggers." (Actually, the two stories were originally intended to be one film.) The two wuxia (martial arts) films with big budgetsóby Chinese standardsócannot simply be dismissed by art-house snobs as mere genre films. Zhang is one of the worldís top directors, whose films regularly play at Cannes (where "Flying Daggers" thrilled the audience), Berlin and other leading film festivals. A former cinematographer for Chen Kaige, Zhang is best known for his visually lush dramas with his former muse Gong Li, including "Red Sorghum," "Raise the Red Lantern," "To Live," "Ju Dou," and "Shanghai Triad." Many of these works displeased the Chinese government due to their less than ideal depiction of Chinese society. However, China endorsed "Flying Daggers" as its Oscar entry for Best Foreign Language Film. During the decline of the corrupt Tang Dynasty in 859 AD, rebellion spreads ac ross China. The House of Flying Daggers is a powerful Robin Hood-like outfit led by a secret new leader, targeted for capture by police captains Leo (Hong Kong Cantopop singer-actor Andy Lau) and Jin (Japanese-Taiwanese superstar Takeshi Kaneshiro). Following a lead, Leo goes undercover at the Peony Pavilion to investigate the new headliner courtesan, a beautiful blind dancer named Mei (Zhang Ziyi of "Hero" and "Crouching Tiger, Hidden Dragon"). Zhang (unrelated to the director) gets to show off her real-life training as a dancer, performing 180-degree splits and other remarkable moves. In the resulting bizarre love triangle, multiple layers of deceit make it difficult for the characters to realize what each truly believes. The quandary recalls the one faced by Lauís undercover cop in "Infernal Affairs" (yet another excellent film with a delayed D.C. release by Miramax). "Flying Daggers" has breathtaking sequences choreographed by legendary action director Ching Siu-Tung ("Hero," "Shaolin Soccer"), enhanced by special effects from the Australian group behind those of "The Matrix." The dazzling visual movements of the echo game and bamboo grove fight scenes are particularly well integrated with carefully designed sound effects, reinforcing the musical-like nature of "Flying Dagger." Although it is a blast for the senses that cannot be missed, the film ultimately fails to have the same resounding emotional impact as Zhang Yimouís best work. The story feels a bit perfunctory and incomplete, despite the dependably strong performances from the three charismatic leads. "House of Flying Daggers (Shi Mian Mai Fu)" (Mandarin with subtitles; 119 min.; scope) opens Fri., Dec. 17 at Landmarkís E Street Cinema. AmÈlie Goes to War? "A Very Long Engagement," director Jean-Pierre Jeunet and actress Audrey Tautotís follow-up to the wildly successful "AmÈlie," features a similarly whimsical, stubborn protagonist. Any subsequent effort from the "dream team" would receive intense comparison to the beloved "AmÈlie," whose French detractors have even been called traitorous. Despite their largely enthusiastic reviews, some members of the French press have dubbed the new film "AmÈlie Goes to War." Although Jeunet is admittedly derivative of "AmÈlie," the glib characterization is really inaccurate. Instead of the saccharin cheeriness of "AmÈlie," Jeunetís dark and sometimes grotesque humor is more reminiscent of his earlier "Delicatessen" and "The City of Lost Children." Furthermore, the actions of Tautotís gamine character Mathilde take place almost entirely after the Great War itself, although flashbacks vividly display the brutality of war. Mathilde hears that her fiancÈ Manech was court-martialed for self-mutilation and sentenced to fend for himself in the no-manís land between the French and Allied trenches. Despite the reported recovery of a body, Mathilde refuses to believe in Manechís death. During her epic search for him, she tests her faith at times with random acts of chance. Tautot is once again adorable as the vulnerable heroine, this time an orphaned polio victim. Jeunet packs the story with all the plot of a detective caper, propelling the movie along, perhaps a bit too quickly. The result is breezily entertaining, although itís not as touching as its predecessor. "A Very Long Engagement (Un Long Dimanche de FianÁailles)" (French with subtitles; 133 min.; scope) opens Wed., Dec. 22 at Landmarkís E Street Cinema. ëSea Insideí: Right to Life? Talented Spanish actor Javier Bardem (Best Actor Oscar nominee for "When Night Falls") won Best Actor at Venice for his portrayal of quadriplegic RamÛn Sampedro in "The Sea Inside," which also took the Grand Jury Prize. Rising director Alejandro Amen·bar ("The Others," "Open Your Eyes") displays his versatility in creating an emotionally gripping, intimate drama. After a devastating accident left him bedridden, Sampedro began a 30-year petition to the Spanish government for the right to take his own life. The act of euthanasia would require outside assistance, illegal under Spanish law. Sampedroís epic story includes his relationships with two women. Julia (Belen Rueda) is an attorney who supports his position, while Rosa (Lola Duenas) argues that his life has much value. The intelligent script by Amen·bar and Mateo Gil skillfully presents the complexities of Sampedroís situation. Cinematographer Javier Aguirresarobe ("The Others," "Talk to Her") evokes the changes in Sampedroís moods with nuanced lighting. "The Sea Inside (Mar Adentro)" (Spanish, Catalan and Galician with subtitles; 125 min.) opens Fri., Dec. 17 at Landmarkís E Street Cinema. Washington Jewish Film Festival The 15th Washington Jewish Film Festival runs Dec. 2 to 12 with 37 features, documentaries and shorts representing 14 countries. Co-sponsors include the American Film Institute, the National Gallery of Art, the Goethe-Institut, the British Council USA, the Alliance FranÁaise, and the embassies of Argentina, France, Israel, Ireland, Canada and Belgium. Most screenings are at the DCJCC, including the opening night: Daniel Burmanís "Lost Embrace" (Argentina), winner of Berlinís Silver Bear. At La Maison FranÁaise, the closing night film is "Modigliani," with director Mick Davis in person. Other appearances include: Irish director Sean Walsh introduces "Bloom" on Dec. 6. Israeli director Yaron Zilberman presents "Watermarks" on Dec. 7. Israeli actress Dana Ivgy will attend Dec. 8ís screening of "Or." Canadian Director Igal Hecht speaks following the U.S. premiere of "The Chosen People" on Dec. 9. British actress Emily Woof accompanies "Wondrous Oblivion" at the Avalon on Dec. 9. And Israeli filmmaker Danae Elon speaks after "Another Road Home" on Dec. 12. (202) 777-3248, www.wjff.org) Repertory Notes The National Gallery of Art and La Maison FranÁaise continue the retrospective of French New Wave pioneer Jean-Luc Godard: "arguably, the greatest living film director." Decemberís programs focus on the works from his later career, including the Washington premiere of "Notre Musique" on Dec. 4. ((202) 842-6799, www.nga.gov/programs/film.htm) ((202) 944-6091, www.la-maison-francaise.org/en_cinejav.htm) Discoveries 2004, the Freer Gallery of Artís third annual showcase of new films from Asia, includes films in the rarely screened languages of Singhalese ("Scent of the Lotus Pond" from Sri Lanka on Dec. 5) and Marathi ("Anaahat (Eternity)" from India on Dec. 19). ((202) 357-2700, www.asia.si.edu/events/films.asp) Ky N. Nguyen is the film reviewer for The Washington Diplomat.