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▚ Shao Yihui (director), Her Story 好东西, 2024. 123 min.
▚ Ling Jia (director), YOLO 热辣滚烫, 2024. 130 min.

Decades after Chairman Mao declared that “women hold up half the sky,” women still do not occupy half of high government offices, CEO positions, or leading roles in movies. In capitalist China, many endure in silence, while traditional discrimination and expectations persist. An active feminist fringe fights to be heard on the margins but is frequently discouraged and censored. Even eminent university professors are complicit in perpetuating these silences. Meanwhile, Chinese society continues to evolve, commenting on its position in a changing world. As new ideas and lifestyles emerge, their inevitable impact on China’s values often unfolds on external terms. Events such as the recent influx of TikTok refugees are emblematic of how change often comes from the outside in.

What explains the success of Her Story and YOLO, arguably controversial and “feminist” films released in China by Chinese directors, the latter ranking among the top ten grossing films worldwide in 2024? The quick answer is that both films deftly navigate the line between acceptable content and a desperate need for non-patriarchal storytelling. Their female-centred arcs and attitudes fill an important cultural gap. Both movies, particularly Her Story, understand and exploit the fact that women’s “half” is a significant contributing factor to the box office. Recognising this, the central government has issued tacit approval of the trend, even praising Her Story for its engagement with censorship issues. By allowing the film to be distributed—albeit primarily in major cities—the government appears open to criticism among the urban class and international observers.

The unexpected “win-win” nature of Her Story and YOLO likely contributed to their enormous social impact. Both films inspired countless moviegoers, particularly women, to buy tickets and engage socially with cinema once more. Viewers, in essence, were investing in a new theory of viewing. Here was China’s negotiated version of pro-women cinema, offering the catharsis of addressing issues rarely discussed elsewhere or articulating unspoken feelings laid bare on screen. As social phenomena, these films have succeeded by fulfilling this crucial need. English-language analyses of the films often focus on their status as negotiated productions within China’s heavily curated film industry, reinforcing their unique positioning in Chinese cinema.

At the time of writing—two months after the release of Her Story—the initial buzz has largely subsided. Like gravitational waves, the films’ influence persists, subtly shaping the behavioural structure of Chinese cinema. Future productions may draw on their formula, and critics will likely marvel at the skillful negotiation of feminist themes in a censored landscape. Yet, in their wake, it remains unclear what these major hits were truly attempting to say.

Overlooked in reviews is the space of ambiguity these films occupy. As much as they pioneer new domains, they leave questions unanswered about their creators’ intentions. Shao Yihui, director of Her Story, insists that her film avoided a “confrontational” approach, yet her ultimate purpose remains ambiguous. Rather than focusing on explicit narratives, both films—intentionally or otherwise—seem to prioritise the general idea of “women’s stories” over the creators’ individual personalities. Western and Chinese audiences alike have quietly accepted this framing, which presents these productions as essentially feminist and aligns with the nature of their box office success.

The first of the two films, chronologically, YOLO was released in late 2022. Its striking poster featured lead actress and director Jia Ling in boxing gear, un-airbrushed and awkwardly smiling out of frame. In a significant way, YOLO revitalised a mediasphere still reliant on phone-based information during the long-lasting restrictions of COVID-19, drawing millions back to the silver screen. Its appeal lay in its departure from fantastical, male-centred narratives, offering instead a grounded and compelling story.

Based on a Japanese film, the story opens with Leying, its main character, lounging in her second-tier city home. Overweight and living with her mother and sister, she maintains a semblance of stability until her partner suddenly leaves her for her best friend. To add insult to injury, he invites Leying to their wedding for “face” reasons. After a period of weight gain and despondency, Leying discovers a local boxing clinic. She develops feelings for her coach but ultimately decides to forgo romance, dedicating herself fully to her training. Within months, she transforms into a chiselled professional boxer and participates in her first bout. Despite being bloodied and losing, she experiences a profound sense of victory and independence, declaring, “I’ve won” (我赢了) as the film concludes.

This is a story of triumph over adversity and self-reliance. It delves into people-pleasing psychology and charts Leying’s gradual transformation away from that trap. Although marketed as a comedy, YOLO often feels stark and even unsettling. Leying’s journey involves intense body shame following her breakup, culminating in a moment where she contemplates suicide but imagines her fat would thwart the attempt. Boxing becomes her extreme solution, symbolising a break from dependence on others. The film blurs the line between fiction and reality: actress-director Jia Ling’s real-life weight loss mirrors Leying’s journey, with the end credits documenting her daily progress. This literal experiment challenges audiences to reconsider notions of self-worth and societal approval.

In contrast, Her Story explores women’s freedom within a family context. The film centres on Wang Tiemei, a single mother, and Xiao Ye, a musician who moves into their lilong neighbourhood in Shanghai. Their friendship evolves as Xiao Ye becomes a mentor and quasi-parental figure to Wang’s daughter, Moli. This dynamic forces Wang to re-examine her own relationship with her daughter and challenges the boundaries of her friendship with Xiao Ye. Financial independence and a few comic misadventures allow the characters to reconcile and grow, with the film concluding on an optimistic note.

Compared to YOLO, Her Story is a feel-good movie. While it touches on themes of struggle, discrimination, and harassment, its delivery and resolution are far more comforting. Male characters are peripheral, and women’s thoughts and relationships take centre stage. Depending on one’s perspective, this focus might seem artificial or virtue-signalling, but for its audience, it has proven highly palatable.

This palatability stems from the film’s exploration of alternate lifestyles and the ultimate power of love to shape family dynamics. While addressing issues such as single parenting and alternative family arrangements, Her Story ultimately champions traditional values. Set in Shanghai, the film portrays the city as a space for experimentation and progress, contrasting sharply with the anonymity and limitations of YOLO’s second-tier city setting.

The differences between the films reflect generational and geographical divides. Jia Ling, in her early forties, seems resigned to the challenges of forging connections beyond the self, shaped by a more jaded generation. Shao Yihui, in her late twenties, belongs to a generation more comfortable navigating the complexities of alternative lifestyles. Shanghai’s cosmopolitanism enables Shao’s characters to explore new horizons, while YOLO remains tethered to the constraints of its setting.

Ultimately, Her Story and YOLO represent two divergent paths for women’s stories in Chinese cinema. Whether celebrating family or individual triumph, both films challenge audiences to reflect on the evolving roles of women in contemporary society.

How to cite: Allen, Edward. “Her Story, YOLO, and the Alternative Family in Chinese Cinema.” Cha: An Asian Literary Journal, 29 Jan. 2025, chajournal.blog/2025/01/29/alternative-family.

Edward Allen earned a PhD in archaeology from Fudan University in 2024 and is currently authoring a book on China and Eurasia in the prehistoric period. Alongside his academic pursuits, Edward has a deep passion for writing, which began during his pre-PhD years when he befriended several Chinese novelists. His creative work seeks to merge his interests in archaeology and storytelling, with his current major project being a trilogy centred on Fu Hao, the legendary female general and queen of the Shang Dynasty. [All contributions by Edward Allen.]

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