This Chinese Film May Rival The Room for the Best Worst Movie

There’s an odd allure to poorly made movies that I find intriguing. Movies like Tommy Wiseau’s , despite their shockingly low quality, have garnered dedicated fanbases. What stands out to me is the sincerity with which they are crafted. There’s a palpable effort behind these works that, ironically, makes their shortcomings even more mesmerizing. Maybe it’s our inner peeping tom at work. Watching a bad movie often triggers a wave of second-hand awkwardness, an emotion that can quickly turn into humor. Regardless of the reason, bad films are a unique form of art in their own right.

There’s a peculiar kind of skill involved in making a movie that’s delightfully awful, and often the best examples are completely unplanned. This seems to be true for what could potentially rival “The Room.” Released by Chinese director Bi Zhifei in 2017, and again in 2018 without any apparent reason, “Pure Hearts: Into Chinese Cinema” is a cinematic disaster, no doubt about it. While its unintentional humor might not be as familiar to Western audiences as “The Room,” there’s no disputing that this filmmaking effort is a catastrophe in every aspect.

Bi Zhifei’s Pure Hearts: Into Chinese Showbiz

Bi Zhifei Submitted his “Masterpiece” to the Cannes Film Festival

Constant mismanagement and misbehavior delayed the film’s production by 12 years.
Director Bi Zhifei attempted to sue Chinese review aggregator Douban for “discrimination against domestic films.”

As a film enthusiast, I’ve always believed that every great movie serves as an extension of the art of storytelling. However, it appears Bi Zhifei might have missed this memo with his film, often referred to as “Pure Hearts“. Unfortunately, this production seems to lack any semblance of narrative continuity. The characters seem to come in and out of focus haphazardly, making it a challenge for the audience to follow along. Instead of weaving a coherent tale, it feels more like a collection of interconnected mysteries rather than a single narrative thread. Admittedly, there seems to be a faint outline of an overarching plot, but it’s so elusive that one might question its existence entirely.

According to Bi Zhifei, the movie presents a grim aspect of China’s film industry, and it centers around Wen Tianyang, a troubled acting instructor, who is played by director Bi Zhifei himself. Wen is surrounded by overly attentive students who frequently treat him like a father figure. Shortly after the movie begins, his long-term partner ends their relationship. Throughout the film, Teacher Wen is often seen over-emoting, crying excessively, and responding dramatically to various situations.

In addition to other events, he often finds himself involved in high-speed car pursuits, reprimands prominent business executives, and is attacked by disgruntled gang members. However, despite an initial impression of potential, “Pure Hearts” ultimately emerges as a self-indulgent venture by Bi Zhifei. Whenever a story seems promising, Wen unexpectedly intervenes and disrupts the narrative flow. There are occasional hints of collaboration within the film’s narrative, but they are rare.

Teacher Wen presents his cherished pupils and shares their respective narratives. These yarns encompass a rural girl Feng Aiyi’s (Yanman Li) sorrowful childhood and a self-proclaimed ladies’ man’s amusing escapades. The movie, titled Pure Hearts, also features an unsuccessful sexual advancement. Regrettably, the portrayal of this scene is subpar, with questionable acting decisions.

Is Pure Hearts: Into Chinese Showbiz the New Rival to The Room?

Bi Zhifei Won the Satirical Golden Broom Award’s title of “Most Disappointing Director”

It took five years for another film to surpass Pure Hearts as the lowest-rated film on Douban.
Pure Hearts has also been released under the title Youth Shining: Dream-by-Dream Performance Department.

It’s quite apparent that Bi Zhifei intends for “Pure Hearts” to be a melodramatic film. The way it is staged and filmed closely resembles conventional tragedies, and there are moments in the script hinting at its serious themes. Regrettably for Bi Zhifei, these poignant instances are often overshadowed by perplexing decisions. Instead of flowing smoothly, “Pure Hearts” seems to distort time with its unusual pace. Despite being only 98 minutes long, it frequently feels stretched out.

Some movies effectively heighten their impact by employing specific techniques. For instance, “Titanic” builds tension as the ship sinks, hastening the plot towards its peak moment. Conversely, “Pure Hearts” seems unsure how to proceed, wasting valuable time on a peculiar prank before rushing through its climax. Unfortunately, Bi Zhifei’s work suffers from a lack of clarity in tone consistency.

In a nod to the Fast & Furious series, credits for “Pure Hearts” flash up with metallic sound effects, setting the stage for an action-packed movie. However, rather than diving into non-stop action, the film takes a surprising turn and focuses on a lively beach party scene. The film’s unique approach to storytelling is highlighted by a midpoint intermission where the characters perform a youthful dance number. These instances are just two examples of the film’s drastic shifts in tone, but they certainly aren’t the last.

It might be even more puzzling that Bi Zhifei has never acknowledged audience criticism. Similarly to Wiseau’s enigmatic decisions in The Room, which he claims is a “black comedy,” Pure Hearts, categorized as a drama, also features numerous puzzling elements. However, these confusing aspects are delivered with impressive skill. At least, the performance exudes an unintentional sense of determination.

Although the main actors deliver acceptable performances, they pale in comparison to Bi Zhifei’s outstanding portrayal. The uneven performances are made more noticeable by a large and fluctuating crowd of secondary characters, many of whom seem as skilled at acting as a pebble. These stark contrasts serve to emphasize the film’s borderline surrealistic lack of finesse.

Pure Hearts Is Even Weirder Than You Think

Director Bi Zhifei Claims He Wrote & Composed the Film’s Theme Song

It took Bi Zhifei ten months to edit the film. Work was allegedly done in 40-second increments.
Pure Hearts’ set was often plagued by arguments between the director and his actors.

Moreover, it’s not just the unusual aspects of Pure Hearts that stand out. Scattered throughout are quirky, 1990s-inspired title screens designed by Bi Zhifei. These interludes, each featuring a puppet of the director, set the theme for each segment. Remarkably, they resemble what a Windows 98 computer might produce just before shutting down. While this style isn’t inherently negative, it does recall an old, outdated system.

As a passionate cinema lover, I can’t help but notice how essential it is for films to immerse us in their stories and transport us to different worlds. There are movies like “Labyrinth of Cinema” that brilliantly utilize outdated green screens to accentuate their actors’ skills. However, “Pure Hearts” isn’t one of them. Instead, its puzzling transition screens seem more likely to confuse the audience and contribute to the film’s misguided enigma rather than enhancing the narrative.

It can be challenging or, viewed differently, intriguing to locate the film “Pure Hearts: Into Chinese Showbiz“. While there are some video essays discussing Bi Zhifei’s unconventional work, the movie itself is not easily accessible on popular streaming services. Therefore, for those eager to witness this unusual blend of cinematic flops, a diligent search is required.

In essence, “Pure Hearts” is a truly terrible movie. It’s hardly suitable for a family movie night, but it’s ideal for those who want to satisfy their craving for watching a really bad film. Unintentionally, Bi Zhifei produced something that embodies the least favored cinematic aspects of another culture. “Pure Hearts” might not appeal to everyone, but it’s intriguing to see how anyone can create a laughably poor film.

2025-05-11 16:50