an autodidact meets a dilettante…

Jacinta: Hurray we’re going to do a movie review.

Canto: Yes and it’s a beautiful, quiet and powerful Chinese movie, co-written and directed by Roy Cheung made in 2014 and set among the Limi people, an apparently rather impoverished tribal group in Yunnan Province, near the Burmese border. The Limi people have their own language, part of the Tibetan group, but the film is in Mandarin, not surprisingly, as Limi is spoken by only around 30,000 people.

Jacinta: It’s certainly an affecting movie about the trials and tensions of a very basic rural life, the generational changes, the lure of the city, the yearning for something more, the pull of home and safety… it’s a universal story of tradition versus change, and the heartache of those torn between.

Canto: So the film, which is available on youtube, starts as the central character, Xiumei (Shi Yan), returns to her home village from studying in the town of Shifang, in neighbouring Szichuan Province, much to the delight of her little ‘sister’ Gaidi. But Xiumei hasn’t returned in triumph, she’s ‘dropped out’, and the village women have gathered to taunt her about her failure. Her humiliated father is forced to apologise and promises to pay back the money he’s borrowed for his daughter’s education.

Jacinta: And when we first see Xiumei she’s in city clothes, unlike the village women and girls, who all wear the same outlandish pillowy head-dresses and navy blue robes. The village huts are of rickety logs and thatch, set in a landscape of rock-strewn hills and streams. Physically beautiful, it’s clearly a tough environment for eking out a living.

Xiumei angrily faces the angry villagers

Canto: Xiumei comes to her doorway and confronts her critics. From the conversation we learn that she has given up college because she wants to be a dancer, though it’s confusing – she promises to repay the money, she promises to return to college, she’s defiant and angry. She retreats inside, and Gaidi comes in to comfort her, and to ask if she’s heard any news from Szichuan about her (Gaidi’s) parents.

Jacinta: So Gaidi isn’t actually Xiumei’s sister, but possibly a cousin, who’s in the care of Xiumei’s parents – another burden for this poor couple.

Canto: Xiumei hasn’t any news and can only show the girl a postcard of Shifang, which she stares at sadly. In the next scene, in a beautiful mountain shrine, Xiumei is back in traditional dress, burning incense to the Buddha along with Gaidi and the village women. She asks to be blessed to go to college again, while Gaidi prays to be reunited with her parents in Szichuan. Then we follow a bus rolling along a mountain road. Inside the bus, a young man, Heigo, is returning to the village. His mother is in the local hospital and he’s returning from Guangdong to check on her… or so it seems.

Jacinta: And in these scenes we see again the rugged beauty of the landscape, a contrast to the unhappy yearnings of the humans. Guangdong by the way is a coastal province bordering Hong Kong and Macau, well to the east of Yunnan.

Canto: So we find out about Heigo through another passenger who greets him, and tells him laughingly that his mother has tricked him – she’s just luring him home to marry his ‘childhood sweetheart’, Shugio – as has always been intended. Heigo looks annoyed and asks after Xiumei – he’s heard she’s back. His friend, though only wants to talk of Heigo’s coming wedding to Shugio, and how lucky he is.

Jacinta: So this is how it’s shaping up, an inter-generational contest. The main characters in the film are the young – Xiumei and Heigo, and Shugio, Heigo’s intended, and little Gaidi. Heigo has been tricked into returning, and Xiumei is under pressure…

Canto: Heigo gets off the bus before it reaches the village. He’s clearly thoroughly peed off, but while he sits muttering by a brook, Shugio arrives on a motorbike. A strange sight, in her traditional costume. She’s annoyed that she had to come all this way to meet him, having heard from his friend that he got off the bus early. And Heigo is annoyed too and reluctantly goes back with her to the village.

Jacinta: Yes, he sees Shugio as part of the family group colluding to entrap him. The motorbike, I think, is an interesting symbol. It testifies to the rough terrain, more easily negotiated on a motorbike, but it’s also the only motorised object, the most advanced piece of technology in the movie.

Canto: Along the road to the village, with Heigo driving, they encounter Gaidi, with Xiumei carrying a heavy basket. Gaidi hails Heigo, her ‘cousin’. He greets her happily, but is particularly keen to chat with Xiumei. He follows her up the hill, while impatient Shugio calls him back. Xiumei’s response to him is cool but friendly enough, and she allows him to accompany her, while irritated Shugio drives off with Gaidi as pillion.

Jacinta: He clearly fancies her.

Canto: Yes but her views aren’t so clear. So Shugio and Gaidi arrive at Shugio’s mother’s house – she’s weaving, a bridal costume perhaps – but she’s disappointed to find Gaidi arriving instead of Heigo.

Jacinta: This is a confusing scene. She asks Gaidi, ‘where’s your cousin’, meaning Heigo, and Gaidi says, according to the subtitles, ‘cousin is taking sister Xiumei away on a motorbike’, which is either untrue or nonsensical.

Canto: Yes, there’s only one motorbike in the movie, and Shugio was riding it. If Gaidi is lying, it’s not to keep Xiumei out of trouble. It doesn’t make sense. Anyway, Shugio’s mother scolds Gaidi and tells her she’s not to see Xiumei again.

Jacinta: From this scene we realise that Gaidi lives with Shugio and her mother.

Canto: In the next scene, Heigo is punting Xiumei along in a boat on the river.

Jacinta: Being very helpful – he was last seen carrying her basket for her.

Canto: Their conversation here is revealing. Heigo asks why she didn’t answer his many letters. She says she didn’t want to distract him from his work, and he responds that his work, as a supervisor, is utterly boring. She changes the subject, asking him about his ‘wife’, Shugio, and of course he responds that she isn’t his wife – yet.

Jacinta: Yes and there’s nothing apparently coquettish about this reference. She seems to be reminding him about his commitment.

Canto: Which seems a bit harsh. We don’t know if he’s ever made a commitment, it all seems to be about family assumptions. Anyway, Xiumei next praises Shugio’s cleverness and hard work. Certainly not encouraging his attentions. The scene ends strangely, as Heigo takes up a sorrowful song, cheerfully sung by washerwomen on the bank. It’s a song of lovesickness, and Heigo howls…

Jacinta: So ends the first part. It looks like it’s going to be a long review.

Heigo joins in the song