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Three Chinese films are in competition at the 15th Beijing International Film Festival‘s flagship Tiantan Awards, each bringing unique perspectives on human connection, justice, and survival to the screen.
“Better Me, Better You”: A Song to Female Resilience
Mahua FunAge’s breakthrough female-focused drama “Better Me, Better You,” directed by Hao Ming and Li Peiran, represents a new direction for the hitherto comedy-focused group. The film stars Ma Li, who also serves as producer, portraying Bai Liping, a caregiver from Northeast China fleeing domestic violence.
“What initially attracted me was the touching relationship between the two female characters in the story,” Ma tells Variety. “Bai Liping, the nanny, and Tang Shuyin, the retired teacher, have completely different identities and backgrounds and would normally have no intersection.”
The story follows Bai’s journey to Beijing where she encounters Tang Shuyin (played by Zhao Shuzhen), a lonely elderly woman. Their relationship evolves from conflicting worldviews to profound mutual support.
“The emotional bond between Bai Liping and Tang Shuyin represents a two-way redemption and support,” Ma says. “Through the movie, I aim to convey the message of ‘loving oneself and being oneself.’”
Ma, who will continue focusing on realistic themes in future projects, hopes audiences find courage in the film’s depiction of unexpected human connection. “I hope that those in difficult situations can draw courage from it, believe that they can also have beautiful emotions, and emerge from the shadows to embrace hope.”
“Deep in the Mountains”: Absurdist Crime Comedy with a Moral Core
“Deep in the Mountains”
Beijing International Film Festival
Director Li Yongyi brings his extensive editing experience to his directorial debut “Deep in the Mountains” (originally titled “Ruyi Hotel” in Mandarin), a crime thriller with comedic elements set in the early 1990s.
The film follows police officer Yao Sichen who becomes entangled in a missing truck case that leads him to remote Maoniaohe Village. There, he navigates a complex web of characters including truck driver Yang Zhaowei and his daughter, village officials, and serial killers, ultimately uncovering multiple murders committed for financial gain.
“When I first read the script, it gave me a very fresh feeling,” says Li. “In my opinion, it’s not a traditional crime movie, but a ridiculous comedy dressed in the guise of a crime story.”
Li, who has been Zhang Yimou’s editing director on films including “Cliff Walkers,” “Sniper,” and “Full River Red,” brings his visual storytelling expertise to this genre hybrid.
“I hope to show the intense confrontation and entanglement between good and evil to the audience through the combination of absurd comedy and black humor,” Li explains. “Although the story takes place deep in the mountains and evil seems to be deeply buried, what I want to express is that no matter how rough the road to justice is, the light of justice will eventually penetrate the darkness.”
After this directorial venture, Li is returning to his editing role for Zhang Yimou’s new film “The Silent Awakening of Insects,” though he continues reading scripts for potential future directing projects.
“Trapped”: Existential Crisis in a Desert Standoff
“Trapped”
Beijing International Film Festival
First-time director Sagara presents “Trapped,” a tense thriller set in a remote border town besieged by heavily armed bandits during a sandstorm.
The film stars Bai Ke as “Night Owl” Xia Ran, one of only three police officers with a single gun defending the town against 44 bandits led by Beishan (played by Xin Baiqing).
Sagara, who holds a doctorate in dramaturgy and has previously distinguished himself as an editor on films including “Hidden Man,” “Youth,” and “Gone With the Bullets,” makes his directorial debut with this high-stakes survival story.
“I’ve always wanted to pose a question through film: how should people face loneliness?” Sagara explains about his thematic focus. “I chose the scenario of a desert standoff because in such an extreme difficulty, people’s fears, struggles, desires, and pains are all magnified.”
The film’s Chinese title translates to “Great Wind Massacre,” reflecting both the literal sandstorm and metaphorical chaos engulfing the characters.
“In this film, I want to tell a gentle yet sad story in a forceful way,” says Sagara. “There are a group of lost and directionless people in the story, as well as a group of gentle warriors… I hope the heroes in the film are brave, and since their courage and tenacity are based on openness and altruism, their bravery is gentle.”
Sagara, who was named “Annual Promising Film Editor” at the 13th Chinese Young Filmmakers’ Forum and whose editing team Huanxing Culture has won international awards for their trailers, remains open about his future direction, stating he has no specific plans beyond this film.
All three filmmakers bring distinctive voices to the competition, representing the breadth of contemporary Chinese cinema – from intimate female bonds and quirky crime thrillers to existential desert standoffs – as they vie for recognition at one of China’s premier film festivals.
The 15th Beijing International Film Festival takes place April 18-26.
