China closes 2024 with a feminist film as the highest-rated production of the year. Her story (good things, in Spanish), directed by filmmaker Shao Yihui (33 years old), has captivated millions of viewers in the Asian giant by addressing social issues with a light-hearted tone, denouncing the stigmas against female sexuality and single mothers, and acidly portraying aspects of a reality in which women from all over the planet can see themselves reflected. Against all odds, the feature film has led the box office for 20 consecutive days in a country in which feminist demands are closely controlled by the Communist Party. Internet users—and even some state media—define it as “the Chinese response to Barbie” and, as happened with the American film, it has not left anyone indifferent: while a large part of the audience praises its ingenious criticism of established norms, there are those who have offended and accuse the film of creating “gender antagonism.”
Although Chinese women are increasingly aware of equality, the feminist movement in the country is under pressure. Analysts say that, since five prominent activists were arrested in 2015 for planning an awareness campaign against sexual harassment, censorship has grown against publications with openly feminist ideology and the social media accounts of those who defend equal rights are often blocked. Several of the most prominent voices no longer live in China; others are in prison. In June, journalist and #MeToo activist Huang Xueqin was sentenced to five years in prison for inciting “subversion of state power.” She had been detained for almost a thousand days and faced her first trial after two years of arrest.
However, stories focused on women are gaining ground, as long as they do not cross the political lines dictated by the Government. And although Her Story It is not the first Chinese feminist film, nor does it represent an awakening among the population, but it has been received as a breath of fresh air. Initially released only in a few cities, word of mouth has catapulted its popularity throughout the territory. In one month it has raised more than 93 million euros, according to ticket sales tracker Maoyan. Despite having a low budget, it is the highest-rated work on the calendar, with a score of 9.1 out of 10 on Douban, the national reference film consultation platform. Its success highlights the evolution in social dynamics in China and shows that stories about women (and written and directed by women) have a place in this market.
The plot revolves around the friendship that two neighbors from Shanghai develop and how they take care of the daughter of one of them. Wang Tiemei is a divorced journalist who struggles to balance the demands of her profession and raising nine-year-old Moli, a perceptive girl who explores her place in the world with a mix of innocence and determination. Xiao Ye sneaks into their lives, a free-spirited singer whose lack of affection haunts her more than she is able to recognize. Their intertwined experiences offer an unconventional vision of sisterhood and female emancipation. 64.6% of single mothers in the country prefer not to reveal their marital status for fear of what people will say, according to a report by the Chinese Association for Studies on Marriage and Family.
“I felt very identified and it made me reflect,” Ying, 32, who came with a friend, commented at the exit of the screening. It is December 25 – in China it is a working Wednesday – and the afternoon session in some cinemas in the center of Beijing is practically full. It’s been over a month since its release, but it continues to attract viewers. Laughter resonates in the room with many of the dialogues and there is even some applause. “I think it perfectly represents the daily lives of many independent women and the challenges we face, in work and love,” says Ying.
In Xiaohongshu (an application similar to Instagram), it is a trend to explain “hidden” feminist references, such as quotes from the Japanese sociologist Chizuko Ueno and the American activist Gloria Steinem or when the protagonists dress up as the American jurist Ruth Bader Ginsburg and the painter Mexican Frida Kahlo. Her Story He has also won applause for his nods to the LGTBIQ+ group and his allusions to censorship, the 2022 confinements or public complaints of political disloyalty.
Habitual behaviors
Guoyuan, a 54-year-old viewer, thinks that the film, in which the male characters are completely relegated to the background, “is fun” although “a bit pretentious.” “But it is certainly very different and I plan to recommend it to my friends,” he says. Some scenes will have stung more than one because they focus on more common behaviors than many would like to admit: a stranger following a girl who returns home alone at night; men incapable of commitment; the empty speech of supposed allies; attitudes in bed that imitate pornography; or the hate messages on the internet that a woman receives for speaking openly about her sexuality. In fact, the film’s score drops to 4.9 out of 10 on Hupu, a sports forum that serves as Forocoches in China.
Yang Xiaolin, director of the Film Research Institute at Tongji University (Shanghai), praised “the new form of realistic cinema” that Shao presents in his second feature film, but criticized the “deliberate marginalization” of male characters and that “it is made “emphasis on the war of the sexes.” The director has responded by arguing that the film explores why patriarchy harms both: “Feminism not only liberates women, but also men,” she stated.
Her Story It is triumphing by showing with humor an everyday life that makes you uncomfortable and invites you to think. The Chinese audience wants stories they can relate to. He demonstrated it this fall with Like a rolling stonewhich brought to the screen the horror that Su Min, known on the internet as the “traveling aunt,” experienced before beginning the journey that turned her into an icon of freedom. In 2020, this retiree began a road adventure with which she left behind the abuse to which her husband subjected her. Her vlogs gained popularity and her bravery inspired many women to say “enough.” Her case also managed to bring to light what it costs to get a divorce in China and the stigma it still carries: a judge dismissed her case for lack of evidence despite presenting a video of a fight in which her husband admitted to having repeatedly mistreated her. . She managed to get a divorce in July, paying more than 20,000 euros to her ex-partner.
Even with the restrictions that the authorities impose on speeches about gender equality and social rights, certain high-impact cases manage to spread a debate that is increasingly difficult to silence. In early December, millions of Weibo (Chinese Twitter) users demanded explanations for a new possible case of human trafficking, which has focused on the failures of the system and the vulnerability of women in rural areas. Bu Xiaohua had been living with a man for 15 years who “took her in” when he saw her “wandering” around his village. Bu, a graduate of a master’s degree in engineering, had disappeared after suffering a schizophrenic outbreak. She had several children with the man, it is not clear how many. This case – currently under investigation – sparked outrage and brought back the memory of another that set the networks on fire in 2022, when it was discovered that a man kept his “wife”, with whom he had had eight children, chained in a shed. A court ruled that the woman had been kidnapped as a teenager and sold on several occasions.
“The tragedies of these women cannot remain as incomplete stories. Women are not commodities to marry and reproduce. We will remain vigilant, not only to demand justice for Bu, but also to protect us all,” journalist Ma Ning wrote on Weibo. His comment is no longer available, but was collected on the blog of sinologist Manya Koetse, who analyzes trends on the Chinese social network.