‘Girls on Wire’ Review: A Sensitive but Unsteady Portrait of Chinese Generational Trauma and Sisterhood

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As a devoted admirer, I find myself reflecting on the electrifying reunion between Fang Di, an aspiring stuntwoman navigating China’s demanding film industry, and her cousin Tian Tian. It’s been five long years since we last spoke, and I too have lost touch with our family during that time. The weight of growing up in a toxic environment can leave a lasting scar, one that often entwines the sense of newfound freedom with feelings of guilt and rage.

In the movie “Girls on Wire,” director Vivian Qu skillfully paints a heartfelt depiction of two characters grappling with familial hardships. This film, initially showcased at the Berlin Film Festival as a competition entry, further explores themes previously introduced in Qu’s work, “Angels Wear White.” Given the festival recognition and positive reviews that have accompanied Vivian Qu’s previous films, it is expected that audiences in art houses across the U.S. will embrace “Girls on Wire.

In the film “Girls on Wire,” Qu explores how society undervalues young women, and she additionally notes that the domestic environment sets the stage for this exploitation. The lives of sisters Fang Di and Tian Tian are depicted via a sequence of flashbacks, which create a serene and nostalgic ambiance (captured by cinematographer Zhang Chaoyi), yet conceal a boiling reality. While Fang Di’s mother (Peng Jing) battles to save her sewing factory, Tian Tian’s father (Zhou You) neglects his addiction to drugs. The siblings find themselves ensnared in an uncomfortable codependency, with Fang Di seemingly making a Faustian pact by supporting her brother’s vices. As their parents argue, young Fang Di and Tian Tian seek comfort in each other’s presence.

By blending the past with the recent reunion of cousins, Qu constructs a poignant tale that explores how trauma echoes across generations. She delves into the idea that individuals from the same background can follow divergent paths, and her focus on the wounds in Fang Di and Tian Tian’s loving relationship leaves a profound impact.

Qu’s curiosity extends to the environment of “Film City,” where Fang Di is based. The director creatively employs comical scenes within this artificial cityscape, using it as a platform for genre exploration and contrasting the contrived tension of a fictional locale with the raw emotions of a tumultuous relationship. However, this examination seems to dilute the emotional impact of Girls on Wire, introducing an additional, somewhat mysterious narrative layer to the film’s two more straightforward themes.

The story Girls on Wire opens by depicting Tian Tian’s daring breakout. This young woman, trapped against her will by an enigmatic character, ends up taking the life of her captor and disappears into the darkness. Through a sharp editing touch (by Yang Hongyu), we are thrust into the bustling world of Film City, where Fang Di finds herself at odds with a demanding director, urging her to reshoot an action scene repeatedly. The paths of these two cousins intertwine in a manner that seems overly convenient: Tian Tian, who manages to find employment as a messenger near the studio, delivers a parcel to her relative.

In the beginning, my meeting wasn’t warm; Fang Di turned me down, thinking I was after money. But let me clarify, I don’t have a dime to spare. Instead, I’m struggling under the weight of our family’s accumulated debt, which I’ve been chipping away at for years. Yet, I assure you, it’s not about the money. I yearn to reconnect with my cousin, who was more like a sister to me. We were once so tight-knit, I can still remember those days vividly. So, what changed?

In the movie “Girls on Wire“, the director initiates flashbacks by using the question that arises from Tian Tian and Fang Di’s reunion after five years apart, as a catalyst. The contemporary narrative is then taken back to the ’90s, where we witness their family struggles in meticulously crafted and vivid scenes, penned by the same hand behind the camera.

The dynamic between Tian Tian’s father and Fang Di’s mother is notably troubling, as it showcases the devastating impact of drug addiction and gender imbalances. Despite Fang Di’s mother being the primary breadwinner, providing for her parents, siblings, and nephew, she does not receive the respect she deserves. Tian Tian’s father, consumed by his drug habit, is an unpredictable figure who wields power over the household with his fluctuating temperament. In this tense household environment, Fang Di works hard to shield Tian Tian from harm and distraction. Scenes of Fang Di covering Tian Tian’s ears during arguments between their parents, or of them playing together in the garment factory, emphasize their special bond.

The cracks in their relationship develop over a prolonged period. In each flashback scene, Qu moves the narrative forward, revealing how Fang Di and Tian Tian navigate through their challenging situations. While Fang Di dreams of a life beyond the household, Tian Tian seems resigned to a future that mirrors her father’s fate. In one recollection, Fang Di comes home from college to discover Tian Tian pregnant with a child. The baby’s father and his family refuse to assist the young woman, regarding her as expendable. Eventually, Fang Di, displeased with Tian Tian’s decision to keep the baby and wanting to safeguard herself, distances herself from the family.

In the contemporary storyline, the echoes of the past decision become apparent, as Qu guides us through the reconciliation of the cousins. Qi and Haocun deliver intense performances that are somewhat disrupted by abrupt shifts in tone within this timeline. As the cousins reconnect, three gangsters, dispatched by a secret creditor, pursue them relentlessly. (One intriguing yet unexplored aspect of the film is the characters’ connections to the mafia and the suggestion that they all owe money to the same enigmatic figure.)

Qu finds it challenging to blend the dramatic elements of his cousin’s sister’s tale with the humorous scenes involving the mafia trio settling into Studio City. Amusing moments where the three become background actors create a tension with the somber feelings portrayed by Tian Tian and Fang Di, who weep over reopened wounds. These narrative decisions also make smooth transitions to the past more difficult, particularly as the intensity in the present-day plot escalates.

Qu’s endeavor to blend genres is commendable, and at certain points in “Girls on Wire“, the humor harmoniously contrasts with the melancholy, mirroring authentic life experiences. However, there are instances where the intricate portrayal of the fictional studio setting – a ruthless industry filled with relentless directors, an overtaxed team, and grueling deadlines – becomes more engaging than the primary narrative itself.

Despite some reservations, the impactful aspects of “Girls on Wire” – particularly how Qu portrays the emotional and psychological toll of freedom – leave you eager to see where the director takes their talent next.

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2025-02-18 00:25