Maybe I'm reading into this too much, but I wonder how much of a hand Hongsheng had in developing the film. I mean, when a story is told casting the main character as himself, I would think he would be a heavy hand in writing, documenting, etc. and that would make it a little biased.<br /><br />But...his family and friends also may have had a hand in getting the actual details about Hongsheng's life. I think the best view would have been told from Hongsheng's family and friends' perspectives. They saw his transformation and weren't so messed up on drugs that they remember everything.<br /><br />As for Hongsheng being full of himself, the consistencies of the Jesus Christ pose make him appear as a martyr who sacrificed his life (metaphorically, of course, he's obviously still alive as he was cast as himself) for his family's happiness. Huh?<br /><br />The viewer sees him at his lowest points while still maintaining a superiority complex. He lies on the grass coming down from (during?) a high by himself and with his father, he contemplates life and has visions of dragons at his window, he celebrates his freedom on a bicycle all while outstretching his arms, his head cocked to the side.<br /><br />It's fabulous that he's off of drugs now, but he's no hero. He went from a high point in his career in acting to his most vulnerable point while on drugs to come back somewhere in the middle.<br /><br />This same device is used in Ted Demme's "Blow" where the audience empathizes with the main character who is shown as a flawed hero.<br /><br />However, "Quitting" ("Zuotian") is a film that is recommended, mostly for its haunting soundtrack, superb acting, and landscapes. But, the best part is the feeling that one gets when what we presume to be the house of Jia Hongsheng is actually a stage setting for a play. It makes the viewer feel as if Hongsheng's life was merely a play told in many difficult parts.