(may contain spoilers)
Douban rating: 8.9
Director: Shao Yihui
Starring: Song Jia, Zhong Chuxi, Mark Chao, Ren Bin
Douban Comments: “Best of the year! Some people in the comments are giving it one-star reviews, saying Shao Yihui is exploiting feminism to please female audiences. Even if that’s true – why shouldn’t she? Don’t we female viewers deserve to be catered to? What’s the point of nitpicking? I love this kind of work.
Besides, this film isn’t even remotely radical. In fact, it portrays male characters in a flattering light, without showing any malice toward men. It’s incredibly realistic, detailed, and moving.
There are countless movies that pander to male audiences – why hasn’t anyone complained about those? In an era dominated by male-centric hero stories and narratives, it’s refreshing to see a female director stand out and create a realistic yet female-centered world. The craftsmanship is top-notch, the storytelling is superb, and the film is so well-made. Shouldn’t we be celebrating such an outstanding work?”
“The scene where Zhang Yu gets his shirt pulled off had all the women in the audience bursting into laughter. When have we ever seen such a moment in a Chinese film, sharing this kind of collective joy?
And then, the film ends with a cliché: a spotlight shining on a child’s head. Such a tacky choice, yet I felt it was the best moment of all. When have we ever had such a dazzling finale for ourselves?
We’ve watched so many movies, cheered for so many underdog protagonists and glorious heroes. Finally, this gaudy spotlight is shining on us. Shao Yihui writes for us, comforts us, and gives us hope. Of course, I wish for a better tomorrow – and also for an arm to lean on.”
“Absolutely loved it! It’s the kind of movie that makes you grateful you went to the theater – this is why we watch films. Every moment hit me right in the feels, and amidst the countless bursts of laughter and rounds of applause, I found so much joy and heartfelt emotion.
Director Shao continues to deliver consistently, again setting her story in Shanghai, this time focusing on the everyday lives of contemporary migrants in the city. The tone is gentle, yet the expression is firm. A single mom doesn’t have to be a superhero. Being head-over-heels in love isn’t shameful. You’re allowed to make mistakes, to be vulnerable, to feel anger, or to show fear.
Families can be built without blood ties. You can sing and play music on the streets, or cosplay if you prefer. Women’s narratives and expressions don’t always have to be heavy and miserable – but if some people still can’t see them, then we need to keep telling these stories, again and again.
I’m proud to say this is not just a great piece of work – it’s exactly what Chinese cinemas need and deserve to showcase. A passionate five stars!”
“Some scenes are handled quite well, especially the one where they’re listening to the recording. But overall, the film feels both too full and too scattered. It’s like a gender-swapped version of a 1990s Chinese urban drama mixed with a lot of “New Yorker”-style film elements. Many of its issues are similar to those in B for Busy, but this one tries even harder to hit the sweet spots for Douban-style artsy viewers. It feels a bit like watching a mashup of Douban influencers’ posts and reviews.
The dialogue is even more stylized than in B for Busy, which makes it feel more forced and unnatural – so much so that it takes away the sense of real life. At two hours long, the film ends up feeling like a bit of a slog. The pacing is weaker than B for Busy, and a lot of scenes feel like they belong in a TV drama. In fact, the relationships between the characters might work better in a TV series format.”
