Based on the Southeast Asia fraud factory incidents in 2021, No More Bets is a solid tense Chinese crime thriller that presents the world of online scams in an eye-opening fashion, delivering unnerving suspense and shock with hard-hitting truth.
Through a promising overseas job offer, computer programmer Pan Sheng and model Anna Liang are lured into a fraud factory, trapped permanently in a slave labor camp where they are forced to commit cyber fraud in an online gambling scam. As the criminal network expands, Pan and Anna conspire to contact the police...
Director Shen Ao balances the multiple storylines well and maintains tight pacing, taking the audience through the logistical pipeline of a scam from beginning to end. The narrative kaleidoscopically presents the phone scam from different perspectives, ranging from the crime boss running the fraud factory, the computer programmer coding the scam app, the model fronting the gambling matches to the unfortunate victim taking the bait.
What draws the audience to No More Bets is knowing that this all happened in reality. It was shocking to think about how as technology develops, crime networks naturally become sophisticated and better organized too. The film incorporates the factual to its advantage, finding a style between documentary and fiction, like a dramatic film that's completely composed of the re-enactment scenes out of a true crime documentary.
There's been an exploding trend of crime films from Mainland China, with the immediate emergence of subgenres this year, like pulp crime with Lost in the Stars, crime procedurals like Dust to Dust, and neo-noir with Zhang Yimou's Under the Light. Government regulations seem to have opened up, allowing the depiction of gangsters and crime as long as public service announcements are tagged before the credits, specifically, title cards detailing every perpetrator's prison sentence and a public message discouraging committing said crime.
Come to think of it, Hollywood had a similar phrase with the Hayes Act from 1930 to the 1960s with its set of do's and don'ts in cinema. I hope this is a step towards more possibilities for Chinese cinema, opening up more fresh stories in new genres being told.
Through a promising overseas job offer, computer programmer Pan Sheng and model Anna Liang are lured into a fraud factory, trapped permanently in a slave labor camp where they are forced to commit cyber fraud in an online gambling scam. As the criminal network expands, Pan and Anna conspire to contact the police...
Director Shen Ao balances the multiple storylines well and maintains tight pacing, taking the audience through the logistical pipeline of a scam from beginning to end. The narrative kaleidoscopically presents the phone scam from different perspectives, ranging from the crime boss running the fraud factory, the computer programmer coding the scam app, the model fronting the gambling matches to the unfortunate victim taking the bait.
What draws the audience to No More Bets is knowing that this all happened in reality. It was shocking to think about how as technology develops, crime networks naturally become sophisticated and better organized too. The film incorporates the factual to its advantage, finding a style between documentary and fiction, like a dramatic film that's completely composed of the re-enactment scenes out of a true crime documentary.
There's been an exploding trend of crime films from Mainland China, with the immediate emergence of subgenres this year, like pulp crime with Lost in the Stars, crime procedurals like Dust to Dust, and neo-noir with Zhang Yimou's Under the Light. Government regulations seem to have opened up, allowing the depiction of gangsters and crime as long as public service announcements are tagged before the credits, specifically, title cards detailing every perpetrator's prison sentence and a public message discouraging committing said crime.
Come to think of it, Hollywood had a similar phrase with the Hayes Act from 1930 to the 1960s with its set of do's and don'ts in cinema. I hope this is a step towards more possibilities for Chinese cinema, opening up more fresh stories in new genres being told.