Chinese Director Vivian Qu on Crafting Her Female-Led Neo-Noir ‘Girls on Wire’

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Chinese filmmaker Vivian Qu has been instrumental in shaping one of the most dynamic movements in contemporary Chinese independent cinema – the gritty neo-noir genre. In 2014, she produced Diao Yinan’s groundbreaking crime thriller “Black Coal, Thin Ice,” which made history as China’s first film from the box office boom era to win the Berlin Golden Bear. In 2017, Qu’s second directorial venture, “Angels Wear White,” garnered significant acclaim at the Venice Film Festival, where it was the sole Chinese entry competing that year. This gripping exploration of sexual abuse, corruption, and collusion is set on China’s southern island of Hainan, and follows a teenage hotel cleaner who accidentally witnesses the abuse of two minors by a government official. The film, shot primarily with a handheld camera, was praised for its bold and unflinching portrayal as a powerful and poignant drama.

This week, Qu is back in Berlin with “Girls on Wire,” another thrilling noir. Unlike the usual city backdrop, this one unfolds in the vast urban landscape of Chongqing, spanning from the late 1980s to the present. The film tells the story of two distant cousins: Fang Di (played by Wen Qi), a stuntwoman in the movie industry, and Tian Tian (portrayed by Liu Haocun), a single mother trying to escape from local gangsters. Their lives take a dangerous turn, intertwining in ways that shed light on the challenging realities faced by young, working-class Chinese women.

Qu’s narrative delves into the intricate inheritance of China’s economic boom, all the while weaving an engaging genre tale. This tale intentionally references and plays with the classic themes found in Chinese martial arts film.

She talked to THR about her new movie, coming to the Berlinale, and the Chinese box office.

In 2018, I delved into the lives of early entrepreneurs in Chongqing, China, who emerged during the country’s reform era in the 1980s and ’90s. I felt there was a compelling narrative to be shared about these pioneers who were chasing dreams of prosperity while navigating fierce competition. I initially intended to trace their paths, but my interest shifted towards their children – the offspring of the boom-time generation. This era was marked by rapid economic growth, but also the emergence of social issues like drug abuse and organized crime. The parents were often preoccupied with their businesses, leaving their children largely unsupervised. Many of these kids had no siblings due to China’s one-child policy, making cousins their closest companions. I found myself captivated by the tumultuous, solitary lives of this younger generation. Eventually, I decided to write a story about two cousins, trying to escape their family’s issues and chase their own dreams – a journey that isn’t without its challenges.

What method did you use to craft each girl’s narrative? Well, they’re quite similar in many ways, as they belong to the same large family. However, due to their distinct personalities and age differences, they chose different paths towards seeking independence. One girl ventured out on her own at an early age, striving to build a life for herself, while another remained behind to face the challenges within the family. This dynamic was something I noticed repeatedly. At first, I thought that the one who left home might be the stronger of the two, but after extensive research and speaking with numerous individuals, I realized it wasn’t as straightforward as that. The girl who stayed back should not be underestimated; she demonstrates a different kind of strength in her struggle to deal with family issues. In essence, both girls are courageous at heart.

When you mentioned “warriors,” it triggered thoughts about the film’s manipulation of wuxia cinema tropes, yet maintaining its grounding in gritty realism. To me, these characters represent the secret warriors of modern society. They embody a sense of rebelliousness within them and are constantly facing adversity. I believe what truly defines a warrior isn’t fame or glory – it’s the resilience with which they confront obstacles, regardless of their circumstances.

Let me share some information about my two leading ladies, Liu Haocun and Wen Qi. Although both are spellbinding, they captivate in distinct manners.
Liu Haocun, who portrays Tian Tian, first appeared on the big screen in Zhang Yimou’s One Second (2019), while Wen Qi, cast as Fang Di, graced my film Angels Wear White (2017). I firmly believe that these two actresses are among the finest of their generation, and I am eager for this movie to bring them into the limelight of a broader international audience. It would be wonderful if more individuals became aware of the fact that China boasts such potent young actresses today.

A significant portion of the movie unfolds at a movie production studio, where Wen Qi performs as a stunt double. Unfortunately, she experiences harsh treatment from her director on set, being viewed as expendable rather than valuable. However, she demonstrates incredible resilience, saying nothing about it. This scenario seems to imply criticism of the entertainment industry. To clarify, it’s not just the film industry that exhibits such behavior; it’s widespread in society. Since Wen Qi is a stunt double and only required for action scenes, she’s often overlooked and undervalued. It’s not intended as criticism; it’s simply how things function. The entertainment industry can be ruthless to many individuals, but this isn’t exclusive to film. Throughout the movie, there’s a noticeable absence of empathy and camaraderie among the characters, with little evidence of support networks. Essentially, these women are struggling alone in their endeavors.

Hey there! As a gaming enthusiast, I’ve been noticing some major shifts in the entertainment world lately. Last year, China’s box office plummeted by 25 percent, which has got me thinking about my fellow creators in the film industry over there. Some Chinese filmmakers have shared their concerns that young people are shying away from movie theaters. With a struggling economy and an abundance of free online entertainment options, it seems many are opting to save money and stick to their screens at home.

The pandemic has played a significant role in this change, with folks spending countless hours on their devices for almost three years now. But it’s not just that – the pandemic also impacted film production quite heavily, meaning there haven’t been as many quality movies hitting the big screen. So it could be that disappointment with what’s currently being shown in theaters is a factor too.

However, I’m really encouraged by the strong box office performance during the recent Chinese New Year. Many of the commercial films were well-received and brought people back to the theaters. Here’s hoping this positive trend continues! All we can do is keep creating great content and pray that it will draw audiences back to the big screen once more.

It seems like there’s a lot of discussion going around among producers and directors in Beijing currently. If the U.S. box office dropped by 25% during a non-pandemic year, it would likely spark numerous articles speculating about “the end of movies.” In a similar vein, many are expressing concerns that filmmaking isn’t worth pursuing due to its uncertain future. Instead, the buzz is all about micro-dramas – those short-form episodic series designed for mobile viewing. I haven’t watched them myself, but these formats have been gaining popularity in China recently.

In the past two decades, you’ve been a significant figure in the Chinese independent cinema scene. Can you share your insights on how the landscape for independent filmmaking has changed during this period?

Back in the day, creating artistic or independent films was quite challenging due to the limited size of the Chinese film market and the difficulties in securing financing. Today, the market is enormous, but the focus seems to be solely on producing blockbusters, making it hard for young filmmakers to secure funding for their projects. However, despite these challenges, there are now more opportunities available for upcoming talent. There are numerous platforms that support newcomers, such as project markets and various programs at film festivals. If you have a solid idea and are willing to take the commercial route, starting a career in movie-making is easier than it used to be. However, if your goal is to create something truly thought-provoking, the struggle remains as tough as ever.

How does it feel to return to competition in Berlin? Is this place significant for you? Let me tell you, I have a soft spot for Berlin; it’s so vibrant and welcoming. After Black Coal, Thin Ice, I’ve only been here once, in 2019, to be part of the GWFF Best First Feature Jury. It’s great to be back this year with Tricia Tuttle leading the way. I’ve known her from her days at the BFI London Film Festival, and it’s wonderful that one of the major festivals now has a female director in charge.

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2025-02-15 08:25