In February I saw a newer Chinese movie at the International Film Festival Rotterdam: “Now I met her”. Although the Chinese title is a pun, which I like better. To clarify, normally I vehemently dislike puns and prefer to display my disgust vocally and physically, but I am a bit partial to Chinese puns since the language has so many homophones, it can get very creative. For example, the Chinese title is 我的妈耶 which can be translated as “Now that’s my mother!” Or “Oh my god”. Both interpretations could be suitable titles to the movie in question.

Now the movie itself was a lighthearted, humorous and touching family story. But what stood out to me, was the time it took place in. It tells the story of the mother, who was born in the seventies and spent her youth and formative years during the eighties, nineties and early two thousands. Seldomly, I feel, do a piece of media and a societal trend I’ve read about collide as beautifully as this moment.

Back to the better times

Just a few months earlier, I read an article in Li Yuan’s excellent New York Times column “The New New World” which talked about ‘The beauty of the boom years‘. Li talks about the longing  for more optimistic and positive times, mixing with nostalgia of Chinese people who can remember their youth jn a very different environment than they’re currently living in. The outlook gets pretty bleak rather quickly, with interviewees musing about the hopeless job, housing and dating markets.

Li dates the ‘boom years’ unofficially back to 2001, but the movie starts earnestly in the seventies. However, it very much conveys the exuberance, positivism and styles of the previous eras. The comedic timing reminded me of earlier movies as well, with very stylized poses and exaggerated expressions. Even though there are some hardships depicted, these are all overcome and almost depicted as springboards for the next opportunity.

Another aspect that stood out to me, was the mix of Western and Chinese elements. Some clothing in the seventies clearly reference a more Western style with colorful suits, slick hair and fashionable sunglasses. The seventies were the decade when China started opening up and accepting more foreign influences to modernize. Economy was booming and especially southeastern China, where the movie took place, was at the forefront of these developments.

These trends further solidified in the eighties, with Hong Kong having solidified its position as a touristic and commercial hub in Asia. Additionally, its cinema and music scene were highly popular in this decade and had outsize influence on China as well as internationally.

I think from the eighties until the early two thousands is also the perfect timeframe to look back on through rose-colored glasses, since it can sincerely seem far away. All the appliances are big, clunky and have many physical aspects such as buttons and cords. Connectivity is still limited, which may be unthinkable to many nowadays, but therefore desirable.

Sitting in the movie theater, surrounded by a mainly Chinese audience that also swamped the director afterwards for questions, I couldn’t help but feel that this audience was longing to see the perfect China that the current government still insists they’re trying to create. Looking quickly at some movie reviews, the most praise is given for the depiction of the family relationships. The love between mother and father, the tenderness between mother and son. In my opinion, this also fits in the nostalgic theme, reflecting on a time where the rat race wasn’t as extreme and interpersonal connections were a priority.

All in all, I liked the movie and it made me laugh and cry plenty. But most of all, it made me think and that’s even better.