The film, though stylistically distinct, is typical of "Sixth Generation" Chinese filmmakers in its subject matter of contemporary China's gritty urban experience.

The Videographer recalls the story of Mardar (Jia Hongsheng), a small-time crook and motorcycle courier, and Moudan (also Zhou Xun), the daughter of a rich liquor importer.

After being beaten one night by the owner of the Happy Tavern, Mardar heads out to the suburbs, where he discovers the real Moudan working in a convenience store.

Upon Suzhou River's release, many Western critics saw the film as heavily influenced by a number of key sources.

[2][8] Some critics also saw in Suzhou River elements of another Hitchcock classic, Rear Window, particularly in the character of the Videographer, the film's voyeuristic narrator.

[10] Many critics felt the release of Suzhou River in the international film festival circuit heralded a major new voice in the sixth-generation movement.

[10] Other Western critics were captivated by the film's atmosphere and its echoes of other directors like Alfred Hitchcock and Wong Kar-wai.

Critic J. Hoberman praised the film's style: "Shot with a jostling, nervous camera, Suzhou River looks great—the showy jump cuts and off-kilter close-ups belie an extremely well edited, even supple, piece of work.

"[12] At the same time, however, he wrote that "Suzhou River's narrative is more than a bit cornball and not overly convincing—which is to say the movie's conviction is to be found in its formal values.