Have a Nice Day is prefaced by a quote from Tolstoy about the persistence of nature, no matter how much we industrialize. In the end, with a cackle of thunder, nature comes down in torrents—soaking a bag of money and the corpses of grifters who’d spent the movie failing to launder it. What I liked most about this Chinese animation is that it’s shrouded in night the way that South Park is always covered in snow. The filmmaker, Liu Jian, crawls through that night like that lizard crosses the train tracks. His style bypasses implausibility; the whole vibe is permissively absurd.
Sometimes, it’s a little too casual. As in a Mike Judge cartoon, the only element moving inside any given frame is usually the mouth of whoever is talking—which is to say, droning on in a cynical deadpan. This, plus the strain of keeping track of sometimes crudely drawn figures—the female characters more so than the men—can be disorienting in a way that does not seem intentional. They leap in and out of the plot like dolphins doing flips. To be fair, the bricolage is a pretense for commentary: a kidnapped painter who spends most of the film in the big boss’s trunk doesn’t affect the story, but provides an excuse to bring up Fauvism. Moreover, he shows that even the loftiest professions are snared in the ambience of crime.
Everything seems to be part of the black market here; there’s a bleakness that’s familiar from movies imported from other communist (or formerly communist) regimes: films such as My Joy or Ida. For each of its various thieves, the stolen loot is seen as seed money to mend broken dreams: an escape from industrial ennui. As Jian sees it, Western-style progress only gets us so far. His exteriors have a geometric precision, but the frames pass by languidly enough that one can get lost in the cross-stitched decay.