Asian Cinema Challenge 2023 | 28/52 | Directed by Hou Hsiao-hsien
In 8th century China, the Táng Dynasty is in decline. The Imperial Court seeks to protect itself by establishing garrisons at the frontiers of its empire. One century later, the militarized provinces waver in their loyalty to the Court. Some move to distance themselves from the Emperor's control. In that moment, Wèibó asserts itself as the strongest of those provinces.
Years ago, Tián Xīng gave his sister, Princess Jiāchéng, a jade disc as a wedding present for her betrothal to Tián Xù, the Lord of Wèibó. This marriage arrangement was intended to prevent Wèibó from invading the Emperor’s land. Upon her arrival, Princess Jiāchéng split the Imperial Court and Wèibó.
Tián Xīng and his other sister, Lady Niè Tián, work to stabilize the area further, arranging for Lady Niè Tián’s fifteen-year-old daughter, Niè Yǐnniáng, to marry Tián Xù’s son and Yǐnniáng’s cousin by marriage, Tián Jì’ān. However, the following year, the Míng allied with Wèibó, and Tián Xù sought to cement the alliance through a marriage. Yǐnniáng, in retaliation, attacked the Míng, forcing Princess Jiāchéng to send Yǐnniáng to live with her sister, Jiāxìn.
Jiāxìn is now a Taoist nun who has raised Niè Yǐnniáng as a peerless assassin, taking out military leaders before they know it. However, Yǐnniáng cannot bring herself to assassinate a governor when she finds him cradling his young son in his arms. For her failure, Jiāxìn assigns Yǐnniáng to kill Tián Jì’ān, who is now the military governor of Wèibó.
The film explores the complex historical and political structures that maintain Wèibó’s precarious peace with the Court. Can Yǐnniáng bring herself to fulfill her mission?
The film does its best to provide the historical details its audience needs to understand what’s at play, but if you are not familiar with the Táng dynasty, it can be a bit much to wrap your head around. Also, the sparse nondiegetic music and “slow cinema” sensibility make the film even more difficult to approach. But the slow approach is what makes the sparse moments of action so explosive.
The film, in its slowness, reflects the nature of royal life — quiet, dull, full of ritual. Also, we take a distant approach, like the assassin, watching and waiting for the right moment. Like Todd Hayes with Safe, it lulls us into that false sense of security that the characters experience. And it’s not like nothing happens — it just develops over time.
As others have said, the film is aesthetically phenomenal. The film opens in monochrome, with Jiāxìn instructing Yǐnniáng on an assassination. Once Jiāxìn assigns Yǐnniáng the task of assassinating Tián Jì’ān, the film becomes color. Throughout, the film makes gorgeous use of accent colors to further enhance its compositions.
In one segment, Princess Jiāchéng tells a story of a bluebird who would not sing for the king. So, they placed the bluebird in front of a mirror, where the bluebird sang of its sadness and danced until it died. The story reflects how Princess Jiāchéng, after marrying Tián Xù, had to give up her way of life and adopt Wèibó’s customs and manners.
I get why some folks aren’t on board with this one — grounded wuxia isn’t exciting for folks looking for wild fights. But I felt like it was just the right wavelength for me.
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