７０年代の共産主義中国をカメラを持って旅するアントニオーニ。映画の最初に彼曰く、「これは中国のプロパガンダに対する映画でもなく、中国を表す映画で もない、私が通ったところにいた物や人の記録でしかない。」と。カメラワークはやはり達人アントニオー二、カメラが旅行者の目の動きのように自然に止まる ことなく物語る、とても詩的な展開だ。毛沢東のポスターを貼り家でお茶を飲む中国人の姿はとてもハイカラに見えた。
Chung Kuo Cina"...I don't believe that a documentary would have been closer to reality if it had lacked "organized" scenes. The singing children in the houses, and all the rest of the "representation" are obviously images that the Chinese wished to provide, but are not images forced upon the reality of the country..." "Everything I did in China was done in complete accord with the people who were there to accompany me. Usually there were eight of them. In Nanking there fourteen. Thus I never did anything that wasn't allowed and I never shot anything without their being present."
On Chung Kuo Cina (Chung Kuo Cina, ed. Lorenzo Cuccu, 1974; Film Quarterly, Suimmer 1975)
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