Part way through Lin Jianjie’s smouldering social drama A Brief History of a Family (家庭简史, Jiātíng Jiǎnshǐ), two boys play a game with a series of coins in which the objective is not to be forced into claiming the last remaining piece. Shuo (Sun Xilun), a visitor to the other boy’s home who had been starting the game remarks that whoever gets to play second will always find a way to win which is quite an ambivalent statement given the questions we might ask of what playing second might mean.
In any case, Shuo clearly has an intention and desire to work his way into this stereotypically nice, upper-middle class family with its tastefully decorated home. He gives away little about himself and we can’t even be sure how much of what he says is true, whether he really yearns for the mother who died suddenly when he was ten or is astutely playing on the frustrated maternity of Mrs Tu (Guo Keyu), or whether his father really is a violent drunk who beats him out of a sense of defeat and insecurity feeling betrayed on finding out that he’s been spending all his time with the Tus. Their son, Wei (Lin Muran) who goes to his school and seemingly befriends him, is by contrast an almost open book aside from the lies he tells his parents in choosing to follow his own desires at the fencing club rather than attend English classes.
It’s this contrast between the two boys that comes to emblematise the crises at the heart of the contemporary China in the wake of the easing of the One Child Policy. It gradually becomes clear that Tus have on some level already given up on Wei who does not fulfil their expectations as the perfect son of a middle-class couple. Mr Tu (Zu Feng) in particular is austere and traditionalist. Wei points out that he made him study calligraphy at an early age but what use is it when everyone types? He threatens to send him abroad to study if his grades don’t improve, but then begins to switch his allegiance towards Shuo who is quiet and intellectual in contrast to Wei’s perhaps outdated brand of virile masculinity. In a pregnant moment, Wei begins to realise that he’s being replaced, displaced inside his own home, when the chairs around the dinner table are rearranged from two on left and right to one on each side with his parents and Shuo huddled on the other end discussing Ivy League colleges and dismissing his news that he made it onto the county fencing team with the false enthusiasm shown to a child who’s just drawn a picture that will soon be pinned to the fridge.
Yet there’s also a transgressive element of homoerotic tension between the boys that is surprising given the censors’s usual objections. Lin frames them sheltering from the rain playing at fencing with umbrellas until Wei symbolically kills Shuo and cradles him softly in a pieta surrounded by a pool of light. At a later moment Shuo moves offscreen and we hear what sounds like a peck of a kiss, though we can’t be sure if it’s pure calculation or an attempt either to calm or needle an increasingly febrile Wei who is very definitely concerned about his place within the family and feels as if the rug is being pulled from under him.
Every so often Lin cuts back to a circular frame, as if looking through a microscope studying the dynamics of this family and how they change once Shuo enters the picture. Shuo seems to instructively spot the loneliness in Mrs Tu, looking at photos from a holiday taken before she was married in which she looks happy and free while her life as a stereotypical housewife has robbed her of individual fulfilment outside of her husband and son. Mr Tu meanwhile looks down on his wife intellectually and is disappointed in his son who he feels reflects badly on him. Later we discover that they conceived a second child but Mr Tu insisted on an abortion rather than pay the fine though the undercurrent is that had it been born they would not necessarily have been so disappointed in their son. Mrs Tu describes Shuo as their second chance, in one fell swoop admitting their “failure” with Wei while buying themselves a shot at the kind of child they always wanted to have, a “good son” like Shuo who is quiet and intellectual and can easily fit into their world. An attempt to teach him tennis ends in disaster, but Mr Tu says it doesn’t matter because he will “train him systemically”.
This seems to be the implication the film is making, that the systematic training of the young to turn them into the children their parents want them to be is producing only barely constrained rage and resentment. The cool and clinical aesthetic of the microscope window suddenly turns a bloody red while we see Wei try to construct a beauty that might not in reality be there. The chairs are put back in their original position complete with their sense of absence but his parents seem to be in their own worlds. They eat in silence, and do not even really look at him. He goes to English cram school but is made to robotically repeat meaningless phrases until he drops the pace, looking into the camera with darkened eyes that suggest an oncoming explosion. Lin conjures a smouldering sense of dread in the urgent string score, slow creep zooms, and usual framing that often cuts someone out be it Shuo on the doorstep trying to cross a threshold or Wei with his back to us wondering how he can turn the camera around all while we place this family under a microscope doubling for the oppressive gaze of an all too conformist society.
Brief History of a Family received its World Premiere as part of this year’s Sundance Film Festival.
Images courtesy of First Light Films.
Windows on Worlds 