Seen at the Embassy, Wellington, Friday 26 March 2021.Elderly patients are susceptible to postoperative infections with increased mortality. Look, I’ve seen some pretty bad generational family dramedies, and this one stays sweet through to the end.ĭirector Jia Ling 贾玲 Writers Jia, Sun Jibin 孙集斌, Wang Yu 王宇, Bu Yu 卜钰 and Liu Honglu 刘宏禄 Cinematographers Liu Yin 刘寅 and Sun Ming 孙明 Starring Jia Ling 贾玲, Shen Teng 沈腾, Zhang Xiaofei 张小斐, Chen He 陈赫 Length 128 minutes.

Still, the sentiments which come through feel pretty earned, and the whole thing is put together with a slick craft that makes even the hokiest elements seem integral-and crucially, they are all acted with good humour and earnest feeling that doesn’t feel forced.

There were some jokes that clearly landed with a Chinese-speaking audience, but plenty too that was genuinely funny, and the central emotional core of the film landed pretty effortlessly, as the film switches gears into slightly sentimental weepie territory. This is where much of the film takes place and, despite the rather harrowing set-up, the tone remains pretty light and comedic throughout. It starts in 2001, as an accident threatens the life of Jia Xiaoling’s mother (Li Huanying, who is named in the Chinese title and played by Zhang Xiaofei), and it catapults Xiaoling back twenty years to just before she was born, in 1981.

Its director (Jia Ling) is also the lead star (as Jia Xiaoling), and while she doesn’t exactly pass for a teenager, she almost makes up for it with her dimpled smile and direct, engaging energy, and the story is apparently drawn from her own life. Sure, this doesn’t offer any deep messages about alienation or bitterly-observed insights into Communist China, but it is deeply likeable. So apparently this is (currently) the highest-grossing film ever directed by a woman, which is pretty cool, and it’s a shame that more Western audiences won’t see it, if the audience at the screening I saw is anything to go by, but then I guess it doesn’t fit the model that most distributors go by when it comes to the kinds of Asian films that get seen widely in the West. It’s also pretty good fun and sweet, so I can recommend it, not that it likely says anything too controversial about the country’s recent past.

Earlier on this year, I took a punt on a random Chinese film which now has turned out to be the second-highest grossing film of the year (probably because China was one of the most unaffected film markets given everything that happened in 2021).

For apple instal Ni Hao, Li Huan Ying