Striding into the Wind (野马分鬃, Wei Shujun, 2020)

“You’ll have a fabulous life too” dejected student Kun is advised, if only he’ll buy a secondhand ’97 Jeep Cherokee sitting forlornly on the lot of an irritated car salesman. If it’s so great why has no one else bought it, he not unfairly asks only for the salesman to reply that it’s because they’re morons who don’t know a good deal when they see one. The directorial debut from Wei Shujun whose graduation short On the Border won the Special Jury Distinction award at the 2018 Cannes Film Festival, Striding into the Wind (野马分鬃, Yěmǎ Fēn Zōng) is in many ways a tale of millennial malaise as the post-90s generation contemplate the relative elusiveness of the Chinese Dream in a society which seems to them much more authoritarian and restrictive than many would imagine.  

A 20-something film student, Kun (Zhou You) is not so much rebellious as founding his resistance in slacker passivity yet it’s his failure either to fully reject the rules of his society or accept his complicity that prevents him moving forward. As the film opens we watch him go rogue during a driving test, literally veering off course in his quest for independence as symbolised in his repeated failure to acquire a licence. So little does he care for the rules of his society that he goes looking for a car anyway, prepared to settle for the cheapest available which is what leads him to the Jeep Cherokee, wilfully mis-sold a vision of the Mongolian Dream by the overconfident salesman. Showing him videos of the wide open grasslands re-invisioned as a new frontier complete with wild horses running free over the horizon, the salesman of course neglects to mention that a vehicle of this age is not going to be particularly reliable, nor cheap to maintain especially if you can’t manage your own mechanics, and will soon be rendered unroadworthy under new emissions guidelines. Kun is being sold a pup. His quest for independence is primed to stall on the highway. It literally cannot take him where he wants to go. 

Meanwhile, he finds himself struggling under the weight of a young man’s ego squeezed on both sides by those who feel he’s not working hard enough at his studies and those who feel his quest to become an indie filmmaker is frivolous and irresponsible. Kun and his friend Tong (Tong Lin Kai) when they go to class at all more or less ignore their professor, at one point firing back at him that he teaches because he cannot do having never actually worked on professional film set. Kun’s attitude is to an extent vindicated in that he does actually seem to have more experience and be ahead of the man who is supposed to be teaching him, but on the other hand if he’d only bit his tongue and played by the rules he’d simply have passed the class and graduated rather than getting himself an instant fail for non-attendance with a side of pissing off the professor. Tong is mystified that, in essence, they’ve paid a lot of money and wasted four years to learn how to press a couple of buttons, but they’re also reminded by the not so subtle father of Kun’s girlfriend Zhi that these days you’re nothing without a PhD. Nervous and chastened, Kun lies that he might become a teacher like his mother as his parents intended, only for Zhi’s father to railroad him into applying for a steady civil service job right there and then, filling the form himself on his own laptop leaving Kun feeling even more emasculated at the hands of the older generation. 

For her part, Zhi is already getting bored with Kun’s irresponsibility. Forced to degrade herself with a part-time job as eye candy at various corporate events, she’s seemingly ready to head into a respectable middle class life while Kun is still dreaming of the grasslands and overly attached to his uncool car. She complains that he’s always saying he’s going somewhere but never actually goes, irritated when he rejects her offer to take him somewhere on her dime. Eventually she advises him to scrap the Jeep, a confrontation that threatens their relationship but Kun is still too attached to an illusionary dream of freedom to consider it. When he eventually gets to Inner Mongolia while working on a friend’s film shoot, he discovers that the “spirit of the grasslands” is largely absent. The banquet they’re invited to an awkward spectacle for tourists, the local culture repurposed and repackaged as a vision of an exoticised otherness that is the flip side of Kun’s equally inauthentic desire for a Chinese wild west. The grasslands appeal because their vast emptiness expresses infinite freedom, but paradoxically precisely because there is nothing there. 

Constantly frustrated by male authority figures from his father who is literally a cop to his resentful professor, quietly sneering girlfriend’s father, and the entire police force, not to mention his unseen mother apparently a well known professor synonymous with educational success, Kun finds himself constrained, longing to run free like the wild horses of the Mongolian plains but unable to shake off the yoke of social responsibility. Forced to give up the Jeep because of his own foolishness in misguidedly trying to evade authority, he becomes a passenger listening to the radio as a man he thought ridiculous and deluded is accorded unexpected success. Kun’s filmmaker friends emulate Wong Kar-wai, Hou Hsiao-Hsien, and Hong Sang-soo, looking beyond the Mainland for a sense of artistic cool but equally seeming to have few truly “independent” ideas of their own. The Chinese indie scene, Wei seems to say, flounders like Kun trapped by his own sense of inertia unable to free himself from an oppressive society, striding into the wind but ill-equipped to counter its resistance. 


Striding into the Wind streams in the UK 16th October, available to start between 6.30 – 7pm as part of this year’s BFI London Film Festival.

Clip (English subtitles)

Lobster Cop (龙虾刑警, Li Xinyun, 2018)

lobster cop poster 1Sadly, Lobster Cop (龙虾刑警, Lóngxiā Xíngjǐng) is not the story of a team of intrepid crustaceans in a trench coat but an amusing tale of bumbling cops made good as their plan to hole up in a seafood joint pays out in unexpected ways. Actress Li Xinyun’s directorial debut is a surprisingly subversive affair proving once again that light comedy is becoming the satirical battleground of the contemporary Chinese cinema industry and dancing rings around the censors in the process.

Our hero, bumbling policeman Yufei (Wang Qianyuan), has a habit of tracking down the bad guys but letting them get away at the critical moment. When yet another mistake puts him on the chief’s naughty list, he finds himself up against rival Xu Xin (Wang Zheng) and given a month to figure out how drug dealers are getting their merchandise into the country. Taking his best squad with him – grandfatherly Neng (Liu Hua), tomboyish Hua Jie (Yuan Shanshan), and rookie Chen (Zhou You ), Yufei vows to crack the case. Noticing that a rundown crayfish restaurant he often stops in to relieve himself has an excellent view of a “logistics company” they suspect is responsible for importing the drugs, Yufei catches on the idea of turning restauranteur in order to stakeout his quarry.

The unexpected snag is that Neng always fancied himself as a bit of a cook and his crayfish unexpectedly takes off, which is good news in one sense because it means the gang can pay back some of the money Chen had to borrow from his wealthy mother to get the restaurant off the ground, but bad in that it’s very difficult to run a successful eatery and chase drug dealers at the same time – especially when the drug dealers become some of your best customers.

In order to make their cover more credible, the gang end up posing as a family with Neng as the cuddly dad, Yufei and Hua Jie as an improbable couple, and Chen as the adorable little brother. As the restaurant starts to take off the cover identities start to take over with only Yufei digging his heels in as he tries his best to catch the bad guys in order to best his police rival and prove himself to the chief. Nevertheless, like any good police squad the secret ingredient of success is fellow feeling and it’s brotherly love that eventually saves our confuzzled cops as they get themselves into a series of sticky situations with the equally bumbling “logistics” guys while accidentally carving a path towards kingpin The General (Li Jianren).

In a slightly surprising move given the usual censors’ board squeamishness, Li inserts a fair amount of subtle homoerotic content beginning with straight-laced policeman Xu Xin walking into a potential cruising situation with the very flamboyant General hanging around in the Gents for reasons seemingly unrelated to crime (though he does later enjoy a carriage ride with a pretty lady), while a regular visitor to the shop openly flirts with Neng who seems to, on one level at least, be receptive to his advances. While it’s true that both of the presumably gay guys (Neng aside) turn out to be “bad” in one way or another, it is a refreshingly ordinary kind of representation in which homosexuality is not in itself the joke and, in a tacit sense, almost totally normalised.

Then again it is the traditional family, in model terms at least, which eventually wins out as the guys begin to pull together to make their lobster restaurant a success and eventually learn to work as a team while embracing their own strengths so they can take down the bad guys. An entertaining mix of witty banter and slapstick martial arts underpinned by tasty food photography and a cheeky subversive spirit, Lobster Cop is a surprisingly surreal concoction and a promisingly off the wall debut from Li who manages to ground the often strange goings on firmly in the real while ensuring her losers make good story commands genuine warmth.


Original trailer (English subtitles)