The Monkey King: Reborn (西游记之再世妖王, Wang Yun Fei, 2021)

Sun Wukong comes to believe in his own soul while standing up to a cruel and oppressive reincarnated demon king intent on destroying the world in Wang Yun Fei’s anarchic family animation The Monkey King: Reborn (西游记之再世妖王, Xīyóujì zhī zài shì yāo Wáng). Reborn is in a sense also what Sun Wukong becomes in Wang’s defiantly egalitarian adventure which sees the regular crew from Journey to the West becoming temporary guardians to an adorable ball of anthropomorphised qi while The Great Sage Equal to Heaven contemplates what it is to be a “demon” and if he’s necessarily as “bad” or “evil” as some seem to believe him to be. 

As usual, Wukong (Bian Jiang) is travelling with the monk Tang Sanzang (Su Shangqing) and fellow demons Bajie (Zhang He) and Wujing (Lin Qiang) heading to India to retrieve Buddhist scriptures to bring back to China. On the way, they stop off at a temple where Wukong and his friends end up causing a ruckus by eating some of the temple’s treasured manfruit from a tree which only produces 30 every 1000 years. 1000 years doesn’t seem so long to Wukong so he thinks little of it but is later caught out by two snooty monks, grows indignant, and gets into a fight with an immortal eventually destroying the tree in temper only to realise that he’s accidentally released Yuandi (Zhang Lei), the ancestor of all the demons sealed within the tree thousands of years previously by a Buddhist monk who sacrificed all of his qi to do so. Threatened with being re-imprisoned himself and determined to rescue Tang who has been kidnapped, Wukong has no choice but to stop Yuandi before he reassumes his full strength in around three days time. 

Meanwhile, the trio is joined by a tiny manfruit-like ball of qi Wukong nicknames “Fruity” (Cai Haiting), originally reluctant to take him with them but advised that his qi is the best weapon against Yuandi. As the film opened, Wujing had been contemplating what it means to have a soul, Tang reassuring him that when he feels he has one it will be there. Following through on the egalitarian message, he later says something similar to Yuandi, certain that all sentient creatures are equal, but the moody Wukong remains sullen and resentful constantly insulted as an “evil” demon while internally convinced he can’t be anything else. Yet despite himself he takes on a paternal role while looking after Fruity who later explains to him that there are good demons and bad and that he has a kind soul. 

Yuandi by contrast merely rolls his eyes when most of his demon minions are cut down, lamenting that they had become weak and the weak do not deserve to live. In the process of searching for his own soul, it’s this cruel and oppressive worldview that Wukong and the others must finally resist, protecting Fruity while battling the darkness with the confidence of self knowledge as their best weapon. Meanwhile, it’s clear that the Buddhist world is not exactly free of corruption either, the two snooty monks instantly looking down on Tang ironically because of his unostentatious attire uncertain why they’re expected to share their treasure with someone so seemingly undeserving. Then again, when they’re sent off to petition the Jade Emperor quite the reverse is true as they’re kept waiting outside while heaven’s border guard painstakingly fills out paperwork in only the best calligraphy while insisting each petition should be treated impartially no matter who it comes from even though the monks had quite clearly expected to jump the queue. 

Selling a positive message of self-acceptance and universal equality The Monkey King: Reborn also boasts a series of thrilling and elegantly drawn action sequences as the trio face off against the forces of darkness, along with some zany humour and Wukong’s characteristically anarchic energy not to mention the unbelievably cute yet somehow profound Fruity who can’t bear all the senseless carnage and depletes himself to cure the innocent townspeople of their demonic corruption. In the end it’s not only Wukong who is reborn as he realises that nothing’s ever really gone forever, just altered in form, while it is possible to repair damage done with humility leveraging the power of self-acceptance against a dark and selfish desire for destruction. 


The Monkey King: Reborn is released in the US on DVD & blu-ray Dec. 7 courtesy of Well Go USA in an edition which includes both the original Mandarin-language voice track with English subtitles and an English dub.

De Lan (德蘭, Liu Jie, 2015)

Set in 1984 in a rural Chinese backwater, De Lan (德蘭) is named not for its central character, but for his first love – a mountain woman far from home in search of a missing relative. Tasked with following De Lan (De Ji), Wang (Dong Zijian) finds himself entering a strange new world which he is incapable of fully understanding, not least because he doesn’t speak the language. A wordless love story between the tragic De Lan and the adolescent Wang is destined to end unhappily, but will affect both of them in quite profound ways.

Wang’s father has been missing for three months, and what’s worse is that around 2000 yuan went missing with him. Mr. Wang had been the loans officer for the local party office in this dreary mountain town and now the best idea anyone has come up with is for Wang to take over the position and pay back the missing money with deductions from his wages (this should take around ten years). Hardly fair, but what can you do? Wang’s first assignment is to take an audit of a mountain town where the residents have a lot of outstanding payments. Seeing as they’re heading to the same place, Wang is to accompany a mountain woman, De Lan, who had been travelling around local towns looking for a missing person but has now run out of money and must go home alone.

Wang is told to trust De Lan when it comes to the terrain, but that he should keep control of the food supplies in case she tries to run off. All things considered, the people at the foot of the mountains, aren’t very well disposed to those at the top. Wang is young and unused to walking such long distances, frustrating De Lan with his inability to keep up and frequent needs to rest. Nevertheless a kind of mutual affection seems to build up between them but largely goes unspoken and unacknowledged. Finding himself installed in De Lan’s home, Wang begins to feel very awkward indeed, unable to work out the strange family dynamic between the gruff man with the lame leg, ancient blind old woman, and the feisty De Lan.

Wang has, after all, been sent to the town to collect on loans – an entirely pointless enterprise as no one here has any money. Wang’s father was a much loved presence, mostly because he always came with cash and never pressed them on repayments. His son, with a father’s debt around his neck, is not quite so nonchalant. Calling a village meeting with no notice, Wang makes it clear he won’t be following his father’s lax approach and will not be issuing any new loans, rather he will be calling in the old ones. This does not make him popular in the village.

Eventually he changes his mind and decides to flash some cash but his worst assumptions are confirmed when the villagers, far from using the money they claimed to so desperately need to survive to invest in their businesses, club together to buy all the booze in the surrounding area and have a giant party. Originally put out by their trickery and De Lan’s ongoing unavailability, Wang suddenly finds himself trying some of their liquor and joining in with a dance around the fire. Perhaps learning to adjust to the Earthy, less ordered way of life, Wang has embraced the new found freedom of the place, but he will also discover that it only runs so deep.

De Lan’s life has undoubtedly been a difficult one which she faces with stoic resignation. Shared between two men and longing only for a child, De Lan has very little say in anything that happens to her yet she was able to set off all alone to look for her missing person. During the trip, De Lan is dismayed when a teenage boy in a home they spend a night in makes a vulgar comment about her body, leading her to try to leave as soon as possible only for Wang to pledge his protection. De Lan is aware of the dangers of the road, as well as the constraints placed on her life, whereas as Wang is still naive enough to think his physical strength and government position would be enough to keep De Lan any safer than she would be alone.

As Wang’s feelings for De Lan grow he fantasises about saving her from this strange, cold household though he barely stops to ask himself if saving is really what she wants. Unable to speak the local dialect, Wang necessarily needs to rely on look and gesture which is largely how he and De Lan have come to communicate – a pure kind of dialogue without need of words. Wang’s love for De Lan is destined to cost him dearly both in financial and emotional terms. A beautifully sad tale of frustrated first love set against the picturesque Chinese countryside and inside it’s much less pretty political system, De Lan is the story of one man’s transition from adolescence to manhood through heartbreak, filled with quiet, yet intense, emotion.


Reviewed at the 2016 London East Asia Film Festival.

Trailer (English subtitles)

https://www.youtube.com/watch?v=AIqY-zUEzww