***first written in late 2020 and submitted to a previous Asian and Pacific Islander based LGBTQ+ organization I was involved with (I think the org is now defunct lol), that never did end up posting the following review. Long way to say, here it is on my site instead! ☺
Firstly, let me just start this article off with how very revolutionary this film is. It’s set in China in the ‘80, but even now its relevance at pushing the boundaries of conservative thought within the Asian diaspora and across the rest of the world is evident with challenging topics played out on screen, such as the often complex interlocking familial Chinese relationships, homosexuality as a deep affront and the general homophobic environment in which the protagonists struggle within, and domestic abuse.
Dai Si Jie, the French-Chinese director and visionary behind this masterpiece for Asian representation in the LGBTQ+ niche of the cinema. All of his works are still currently banned in his home country of China, as it contains political sensitive material. As such, the movie was actually shot in parts of Vietnam, with the lush greenery of the botanical gardens surrounding the house as evidence of Vietnam’s Southeastern tropical climate.
The movie starts off with Li Ming, a young woman who recently finds herself orphaned. She starts her internship studies under a botanist renowned for transforming the island he calls home into a lush garden teeming with life and blooming with colorful serenity, as shown in the myriad of trellises and dewy flowers shrouding the house. The professor is disciplined and principled, and devotes his life to the cultivation of his plants, and the welfare and company of his daughter, An, a sharp-witted and sharp-mouthed young woman that wants more out of life than assisting her father.
Both An and Li Ming become quick friends, which then develops into budding sapphic romance and innocent undying declarations of love and commitment. As Li Ming’s internship draws closer and closer to an end, both protagonists desperately devise a plan whereby they can still be with each other: Li Ming marries An’s brother, a soldier under communist China, so they can be together ‘forever’… with the consequence being much turmoil and pain, as the rest of the movie unfolds.
In the end, An and Li Ming are captured and a government tribunal is held according to the Professor’s testimony of their “gay disease”, as he had his suspicions confirmed upon chancing upon an intimate scene between both women. Both women are quickly put on trial for their homosexuality and promptly, and heartbreakingly, sentenced to death. They are called unscrupulous traitors due to their indignity of country, government, family, and society, by the government officials and by the professor, thus effectively denouncing his own flesh and blood, and his best botanical student.
The simple outfits consisting of brown buttoned shirts and long skirts are very characteristic of 1980s-90s China, and the symbolism of An and Li Ming releasing pigeons signifying their love and freedom (similar to the Southeast Asian Buddhist celebration of Vesak Day, whereby pigeons are released into the air) is a sentimental slowburn. Tradition is also clearly seen in the chosen usage of set design; red lanterns signifying good luck as a new chapter of marriage begins, Chinese red tortoise cakes (which are similar to the ang ku kuih pastries of Indonesian and Malaysian cuisine), red packets for the wedding attendees signifying communal gratitude and thanks. Tradition on a smaller scale is also highlighted in the day-to-day tasks of washing the feet of the elder professor to show respect, and speaking with correct honorifics between child and parent, student and master, brother and sister.
I also love the mixed Asian heritage representation, as well as the lesbian representation and historical context of homophobia in China. I absolutely appreciate how the actress chosen for Li Ming, is of mixed Asian ancestry (Chinese-French) as well and can speak fluently in Mandarin, as evidenced in the movie. It was a conscious choice on the director Dai’s part, and it is very much appreciated. The scenery is stunning, and the music score is incredible. The level of understanding and chemistry between the two protagonists are also very palpable with the mutual assurances of love that they have for each other and their vow to never to be apart.
Falling in love with the right person becomes so believable and possible with the chemistry between An and Li Ming: the scenes of them interlocking arms whilst drinking tea, and feeding each other using chopsticks, evokes such a sense of support and tenderness that I only find within my sapphic community. Their tragic love story hinges on fear of abandonment and being constantly misunderstood by society, which are common themes in complex and oftentimes toxic family living situations. With more movies shedding light on how prevalent same-sex relationships are even though outlawed, hopefully the stigma against the LGBTQ+ community will lessen over time, especially within Asian spaces.
4.8/5
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