(may contain spoilers)
Like a Rolling Stone
Douban rating: 8.8
Director: Yin Lichuan
Starring: Yong Mei, Jiang Wu, Janice Wu
Douban Comments: “Sun Xiaoxue said, “I don’t want to be like everyone else. I want to marry for true love, for happiness. But love alone can’t put food on the table. Married life will eventually revolve around daily necessities and family matters.”
Xu Xiaoyang, played by Zhang Benyu, doesn’t have much screen time, but I think the director did a great job shaping his character. He’s a very typical yet subtly misleading figure. On the surface, he seems open-minded, listens to his wife, and gets along well with his in-laws. But when it comes to raising their child, his deep-seated biases about women are revealed. He assumes it’s a woman’s duty to care for the child and only shows concern for his wife after that assumption is satisfied. He never truly considers life from her perspective – what she’s going through, the risks she faces, or her future.
In reality, many women think, ‘My husband treats me well, so I should sacrifice myself to support him as a good wife.’ This mindset inherently places them in a weaker position.”
“This story isn’t about running away – it’s about determination. It doesn’t criticize men, but rather the societal value system. Simply presenting how our lives actually operate is enough to make the audience feel the suffocating burden and constraints women face in fulfilling family responsibilities, as well as the sorrow and horror of their personal will being forcibly eroded.
For us, this is like our own version of Kim Ji-young, Born 1982.”
”This is one of the most well-constructed domestic films focusing on women in recent years. A comparable work might be Young Woman and the Sea – an odd comparison at first glance, but it makes sense upon closer reflection. Both are based on real-life stories, both depict a resolute departure under patriarchal oppression – one swims toward the sea, the other runs into the wilderness – and both channel the film’s entire emotional buildup into a single decisive act. More importantly, both are examples of women-centered works at a foundational stage, employing a somewhat conventional but effective narrative style.
The significance of this film lies in its relevance to China’s current chaotic social discourse. It brings audiences back to one of the most basic and common struggles faced by women, making it accessible and resonant even for men.
One design element I particularly liked is that this isn’t a straightforward tale of triumph (girlboss narrative). On the contrary, the mother’s two failed attempts to leave are not because of her husband, but her daughter. This shifts the focus from an isolated instance of one man oppressing one woman to a systemic oppression. It’s the structure itself that traps the mother, and it’s that structure she ultimately breaks through.
This precision and sensitivity in portraying such nuances truly reflect the unique perspective a female director brings – only someone with that awareness could have made this film.“
The Substance
Douban rating: 7.5
Director: Coralie Fargeat
Starring: Demi Moore, Margaret Qualley, Dennis Quaid
Douban Comments: “This is a film that embodies radicalism and subversion – a visceral, body-centric work that is likely to be one of the most disruptive creations of the next few years. At its core, it is unmistakably an anti-exploitation film. It emphasizes the necessity of heightened sensory awareness, using close-up shots and auditory details to exaggerate the seemingly clichéd, vulgar, and absurd imagery captured by digital media (such as sexualized depictions of women). These are paired with the glossy, ad-like visuals, all of which culminate in an astonishing overturning in the final scene.
The visceral horror – symbolized through the grotesque transformation of the body – functions as a symptom of deeper societal issues. By weaving together subgenres like splatter films, cult cinema, revenge narratives, and extreme films, it redefines and critiques both genre conventions and thematic principles. The film’s sharp critique and satirical spirit are unmistakable.
Through the portrayal of a socialized body, it starkly reminds viewers of the cost of conforming to societal standards and what the protagonist is losing in the process. The spotlight’s demand for a single, rigid ’ideal‘ of beauty is exposed as deeply pathological.
In the broader context of genre history, this film pushes boundaries further than ever before. For our time, the new master of body horror and feminist narratives will not be Julia Ducournau – it can only be Coralie Fargeat.”
“Four and a half stars. From the very beginning, the film bombards the audience with exaggerated, greasy close-ups, unabashedly exposing Hollywood’s misogyny and male gaze to the point of discomfort. Yet director Coralie Fargeat is crystal clear about her creative intent. She chooses to amplify society’s obsessive worship of youth and beauty through the wild and bloody extremes of a B-movie aesthetic, ultimately revealing that those absurd behaviors are, in fact, an authentic reflection of human greed.
The film’s visceral audiovisual language delivers a punch, creating a symbolic loop between the opening and closing scenes that achieves a sharply cohesive satirical effect. Demi Moore and Margaret Qualley deliver bold, boundary-pushing performances, brimming with tension and commitment.”
“I thought I’d be shouting “masterpiece” by the end, but instead, I found myself crying during the latter half. This script feels like a cult-movie version of Demi Moore’s life after her divorce over a decade ago. The Internet once endlessly speculated about whether she’d had botched plastic surgery or lost her star power, sighing over Ghost and questioning Striptease. But we forgot how, as a Hollywood icon, she fought hard against gender pay inequality, and how the industry deliberately snubbed her for awards while subjecting her to immense public scrutiny.
For me, the film struck the perfect balance of audacity. The most horrifying scene wasn’t the gore but the gradually widening shot of Sue extracting stabilizing fluid – a stark metaphor for humanity being compressed until it disappears, swallowed by endless darkness and greed. It captured everything I imagine materialism embodies, especially in the final half-hour, which felt like a Carrie meets High Society ‘pro max’ edition.
However, the ending played it a bit safe. The body horror elements were strikingly anti-male-gaze but didn’t push far enough. It should’ve gone all-in.”
Young Woman and the Sea
Douban rating: 9.0
Director: Joachim Rønning
Starring: Daisy Ridley, Tilda Cobham-Hervey, Stephen Graham
Douban Comments: “The emotional resonance brought by the real-life story surpasses the technical craftsmanship of the film, but its strength lies in its precision and balance. The most moving moments are in the details. For instance, even though the first attempt to swim across failed and no Olympic gold was won, the spirit of perseverance still inspired a new generation of young girls. What seems like one person swimming is actually someone carrying the hopes of countless women.
Another beautiful detail is how women in different households turned on their lights, sitting by their radios to await the results. When the first attempt failed, one by one, their lights went out. This parallel structure – illuminated hope versus extinguished disappointment – feels methodical but is undeniably touching.
The swimming scenes are stunningly shot, free from the male-gaze perspective. I particularly loved the moment when Trudy floated in the ocean to rest – a serene yet powerful image. Every female character in the film shines in her own way.
There’s the mother, who adapts to her time but cleverly resists in subtle ways; the sister, who cannot escape fate but unwaveringly supports her sibling; the strict yet visionary coach, who values talent above all. These women don’t need to harm each other, nor do they need to conform to rigid standards like losing weight or gaining muscle. Their quiet determination and authenticity are more than enough to move us.”
“The film’s core story is compelling, but its execution feels overly conventional. The tightly paced narrative fails to generate strong dramatic tension, and the story’s predictability makes it somewhat dull. Audiences are forced to accept too early on that the protagonist is destined to succeed.
For example, the real-life Gertrude earned one gold and two bronze medals at the Paris Olympics – not exactly a failure (otherwise, she wouldn’t have become an icon for young girls). Yet, for the sake of a ‘rise-from-adversity’ narrative, the film exaggerates her struggles in Paris.
The feminist themes are presented in a heavily Disneyfied manner. One interesting touch is the portrayal of the only positively depicted male character: the nude swimmer who, despite successfully crossing the English Channel, was shunned by mainstream society for his unconventional behavior. This rhetorical choice underscores how Gertrude, as a woman in a male-dominated society, is forced to ally with marginalized or “failed” men rather than strong, mainstream ones.”
“I was moved to tears after the screening – this is truly a story centered on women. It tells of a female athlete who bravely defied societal norms and shook the world with her strength. In the world the protagonist faces, the paths available to women are painfully limited. Even when they make it to the Olympics, the coaches sabotage them, denying them proper training. Worse, during her daring attempt to swim across the channel, the male coach drugs her with seasickness medication. They were scared – faced with such overwhelming talent, all they could do was resorting to dirty tricks.
When the protagonist gets lost in the sea, it’s truly heart-wrenching. Thankfully, everyone lit torches to guide her, helping her find her way. It was an incredibly powerful moment, a symbol of hope and direction that inspired women everywhere.
This film proves that Disney can tell women’s stories.”
