China's film industry, traditionally male-dominated, is experiencing a significant shift with the rise of female directors who are breaking barriers and bringing fresh perspectives to the screen. Leading this transformation is Jia Ling, whose recent film "YOLO" grossed over 0.47 billion USD during the Lunar New Year holiday. Ling, who starred in the film and lost 50 kilograms for the role, tells the story of an obese and suicidal protagonist who learns to love herself. This success makes Jia one of only four female Chinese directors to achieve a cumulative box office revenue of 1.39 billion USD.
Ling's earlier film, "Hi, Mom" (2021), also achieved great success, resonating with audiences through its heartfelt depiction of her mother's life as a factory worker in the 1980s. Her talent for character development and breaking gender stereotypes has set a new standard in the industry. However, Ling is not alone in this endeavor. Several pioneering women have paved the way, enriching Chinese cinema with their unique narratives.
Huang Shuqin, a leading figure among the "fourth-generation" directors, is renowned for her feminist themes. Her 1987 film "Woman, Demon, Human" is considered China's first feminist film. It explores the life of Pei Yanling, an opera performer struggling with her female identity while playing male roles. Shuqin's 1994 film "A Soul Haunted by Painting" continues this exploration, portraying the life of artist Pan Yulian, who overcomes a past marred by prostitution to become a pioneering female artist.
Ann Hui, a Hong Kong director, has had a diverse career spanning nearly five decades. A key figure in the Hong Kong New Wave movement, Hui's films often address social issues from a feminist and humanitarian perspective. Her 1995 film "Summer Snow," which won the Prize of the Ecumenical Jury at the Berlin International Film Festival, is a poignant comedy about a woman juggling work, family, and caregiving for her dementia-stricken father-in-law.
Further, Li Shaohong, a prominent "fifth-generation" director, has gradually shifted towards feminist themes in her work. Her 1992 film "Bloody Morning" addresses the absurdity of societal constructs regarding female virginity, while her 1995 film "Blush" focuses on the lives of two prostitutes sent to reeducation through labor in the 1950s. Shaohong's contributions extend to television, where her show "Palace of Desire" innovatively depicts the reign of China's only female emperor, Wu Zetian.
Contemporary directors like Lina and Huang Ji continue to push boundaries. Yang's films "Longing for the Rain" (2013) and "Spring Tide" (2019) delve into female sexual desire and complex mother-daughter relationships. Huang Ji's films, inspired by her experiences as a "left-behind child," tackle themes of sexual exploitation and loneliness.
The First International Film Festival in Xining, particularly its First Frame section, has become a crucial platform for female directors. Supported by Chanel, this section focuses on stories about women by filmmakers of all genders. This year, the festival's highlight was Xu Huijing's documentary "Unstoppable," which chronicles the journey of MMA champion Zhang Weili.
Female filmmakers in China still face challenges such as gender bias and limited career development opportunities. However, their increasing recognition and the commercial success of their films indicate a promising future. As female moviegoers accounted for 58% of ticket sales in 2023, the industry is beginning to reflect the diverse experiences and perspectives of its audience.