THIS Sino-French co-production was China’s nomination for best foreign language film at the 2015 Oscars.

Uncontaminated by political proselytising, economical in its delivery of a charming story, director Philippe Muyl’s screenplay takes retired working-class grandfather Zhi Gen (Baotian Li) and granddaughter Ren Xing (Xin Yi Yang) on a journey from Beijing to the provincial town where Zhi Gen’s wife is buried.

There’s more to it than that mere travelogue. Against a background of a gentle, credible observation of the social fabric that China has woven from the customs of past millennia and high-tech 21st century hustle, it explores a warm and affectionate relationship dealing with recognisable family issues set among peripheral characters with whom we could be easily comfortable if there was common language.

The title comes from the caged bird that has been Zhi Gen’s only companion in widowerhood. It’s older than usual for its species. Ren Xing is scornful of it at first, hardly surprising in light of her spoiled, selfish demeanour as the only child of an internationally-known architect and a high-profile media mother. She resents having to spend a week with Zhi Gen. Her conversion is the film’s central theme. And it’s agreeably entertaining.

The film delivers lovely images of rural China, towns that might have existed before Rome was built, man and nature in a harmony both organic and manufactured. Baotian Li is a joy to watch playing a character in whom innate wisdom and gentle determination combine to fine effect.

At Palace Electric