There has been a rush of films of late about young Chinese women written and directed by young female directors, including Yang Mingming’s Girls Always Happy (2018) and Yang Lina’s Spring Tide (2019). Writer-director Teng Congcong’s cinematic debut Send Me to the Clouds – a slightly uneven but frank and comic look at mortality, sexual desires and womanhood in today’s China – seen from a strong and rare female’s standpoint, is but the latest to join the list.
from the perspective of 29-year-old Sheng Nan (Yao Chen), a fiercely
but underpaid journalist, Send Me to the Clouds opens with her
doctor telling her she has ovarian cancer and the surgery won’t just be hugely
costly, but will numb all her senses. Her last hopes of receiving some
financial help from her separated parents are dashed when she finds her philandering
dad near bankruptcy and her mom too immature to shoulder
Angry, indignant and broke, she reluctantly accepts a lucrative ghostwriting job from a rich client named Mr. Li (Liang Guanhua) known for dirty dealings. Her assignment involves writing an autobiography for Li’s elderly father, and takes her to a mist-shrouded mountain in Guizhou. To complicate matters, her emotionally dependent mother insists on accompanying her on the journey.
Guizhou, Sheng Nan (literally “surpassing the male”) experiences a chain of
events that leaves her ever more exasperated with the men around her: her misogynistic
client Mr. Li won’t miss a chance to humiliate her just because she’s a woman
and under his payroll; her simple-minded colleague Simao (Li Jiuxiao) is
laser-focused on becoming “filthy rich;” even her romantic-interest Liu
Guangming (Yuan Hong), who appears to be thoughtful, turns out to be married
and a total wimp. It’s only near the end, after several meetings with her
client’s elderly father, a devout Taoist who makes her see the importance of
faith, that Sheng Nan eventually regains her balance and sense of peace.
Teng’s self-discovery is unique in being among the first to shed light on the absurd position young Chinese women currently find themselves in. Even as society tells them to “surpass men,” it also expects them to be married by age 27. The title, Send Me to the Clouds, taken from a verse from the classic 18th-century Chinese novel Dream of the Red Chamber, alludes to a woman’s aspiration to a better life.
film’s focus is women from Sheng Nan’s generation raised in the 1980s and 90s at the peak
of China’s rapid economic rise, with the One-Child Policy in full force. These
women are supposedly from the “Lucky Generation” showered with opportunities
and resources their parents could only dream of. Armed with advanced degrees
and a pride to match their brothers, they have high hopes for better pay and
respect when entering the workforce. Yet rampant materialism and a die-hard
patriarchy set them up for disappointment. First, Sheng Nan finds herself
fending off “leftover woman” label for being single. Then, she is forced to
accept demeaning assignments from a creep to foot her expensive medical bills.
For Sheng Nan, sex and men are equally
disappointing. Given her doctor’s warning, Sheng Nan secretly hopes for a last
wild fling with someone she respects before she’s wheeled into the operation
room. Unfortunately, no one fits the description. Desperate, she initiates sex
with Simao, even offering to pay for his “services” at one point.
Send Me to the Clouds is somewhat of a heavy movie
given that mortality is a core theme, although Teng keeps it light by peppering
it with dark humor. Yet the Beijing Film Academy graduate’s use of slapsticks
gets a bit carried away at times. This is particularly obvious in the opening
scene, leading to a false impression that it will be a cheesy comedy. It’s only
after the first 15 minutes that it gets on track, which is a relief. Similarly,
some of the imagery and metaphors, including a floating black coffin that
extends throughout the movie, border on overkill.
But the film has a lot going for it. One of its best parts is the mother-daughter treatment—a theme also covered in Yang Mingming and Yang Lina’s recent films. From the start, Teng builds up the mother-daughter tension by zooming in on their very different approaches to life and to men. For example, while Sheng Nan refuses to take insults from the haughty Mr. Li by ripping up her written work in protest, her middle-aged mother Meizhi insists on smearing bright lipstick to attract any men who might look at her twice.
Particularly well done is a scene when Sheng Nan
and Meizhi finally have it out on the peak of a majestic mountain. Sheng Nan
accuses Meizhi of being an unfit mother: “When I was young, you always blamed
me whenever I was sick for keeping you from making money.” As this unfolds, the
elderly Li sits speechless between the two—a poignant moment.
two sex scenes in the film are equally searing and funny, giving us a glimpse
of the battle of the sexes the Chinese style. Popular
Chen does a stellar job as the defiant but down on her luck Sheng Nan.
Send Me to the Clouds is not a feminist statement like some Chinese commentators have suggested online. Rather, it’s a brave, unapoleogetic and at times hilarious film about the many things wrong with modern Chinese society seen from a strong woman’s viewpoint. Bolder than Girls Always Happy and Spring Tide, it’s a refreshing addition to the canon of mold-breaking women’s works that prove you don’t have to rely on the well-trodden chick flick formula to sell tickets.
Karen Ma is a US-based film critic and independent film scholar specializing in Chinese cinema. Formerly a lecturer of Chinese Culture and Film at The Beijing Center of Chinese Studies, Ma is also the author of Excess Baggage (China Books, 2013), a novel about a Chinese family’s struggle in Tokyo.