"Across the Furious Sea" falls into the category of a "father avenges his daughter" film. Despite facing censorship, the movie was released four years after its completion. However, it transcends the simple revenge genre. Director Cao Baoping's narrative ambitions extend beyond revenge, using it as a clever disguise for exploring
An Incompetent And Angry Father
The film introduces Huang Bo's character, Lao Jin, a typical middle-aged man and influential figure on the local island. Busy fishing day and night to support his daughter Xiaona's education abroad, Lao Jin embodies the image of a caring father who wishes the best for his child. However, things take a drastic turn when he receives news of his daughter's disappearance during a long voyage.
Initially, Lao Jin's complaints about his numerous ships seem like a disturbance to his peaceful life. However, when he sees his daughter's body and the reality sets in, his anger surfaces dramatically. The movie skillfully portrays his emotional transition, from physical reactions to smashing his head against the wall in grief. The contrasting families-Lao Jin's angry fatherhood and Jing Lan's strong yet weak motherhood-become the focal point of the film's main dramatic conflict.
Jing Lan, played by Zhou Xun, emerges as a new character, taking the initiative to collaborate with Lao Jin in pursuing the truth. Her proposal to hand over the suspect, Li Miaomiao, to the police within three days challenges conventional expectations of a mother's protective instincts.
As the plot unfolds, Lao Jin's unconventional means, fueled by societal and class differences, highlight the movie's exploration of revenge and its consequences. The film subtly conveys the complexities of love and societal expectations.
Love as a Performance
Erving Goffman's theory of dramatization is metaphorically applied in the film. The characters perform specific roles on the social stage, responding to societal expectations and norms. "Across the Furious Sea" weaves together themes of revenge, family dynamics, and societal expectations, presenting love and hate within the original family as intertwined elements.
The film reaches a climax during a typhoon scene, where tensions and emotions are visualized through a collision of three cars. The intertwined space lines symbolize the characters' fates, leading to Li Miaomiao's capture by Lao Jin.
However, the film takes an unexpected turn with the typhoon disrupting the unequal power dynamic between Lao Jin and Jing Lan. Lao Jin, holding Li Miaomiao, symbolizes possession of the truth. But is the truth what Lao Jin believes it to be?
As the film progresses, the director questions the performative nature of love and highlights the hypocrisy behind identity-based obligations. The characters' deliberate demonstrations of love become a complex "performance" influenced by societal expectations.
The movie concludes with impactful scenes, exposing hidden motives, resentments, and the harsh reality faced by the characters. The film's criticism revolves around its overt directing techniques, which some viewers find indoctrinating, aiming to manipulate emotions.
Family of Origin: Original Sin or Opportunity for Change?
The portrayal of the family of origin in the film focuses on creating the image of an incompetent and angry father, Lao Jin. However, as he reflects on his daughter Xiaona and her tragic fate, Lao Jin realizes that he never truly understood or respected his daughter.
The film delves into the pain experienced by contemporary young people, emphasizing the importance of acknowledging individual trauma within the family. While attributing all problems to the family of origin may be a psychological misunderstanding, the film succeeds in sparking broader empathy for the characters' struggles.
In exploring family relationships under patriarchy, the director critiques the imitated actions of love and the consequences of a performative father figure. The film questions whether the family of origin is an inherent obstacle or an opportunity for change.
The ending, far from a false reconciliation, challenges the characters to face the realities of their relationships. The film concludes with a powerful message: love is not about imitation; it requires genuine understanding and response.
As we navigate the complexities of family relationships, the film suggests that everyone has their own secret traumas. While pain cannot be quantified, taking initiative and being responsible for one's life is crucial. The film encourages viewers to firmly hold the reins of their lives, resolving fears, guilt, and anger towards parents to prevent their transfer onto future relationships.
An Incompetent And Angry Father
The film introduces Huang Bo's character, Lao Jin, a typical middle-aged man and influential figure on the local island. Busy fishing day and night to support his daughter Xiaona's education abroad, Lao Jin embodies the image of a caring father who wishes the best for his child. However, things take a drastic turn when he receives news of his daughter's disappearance during a long voyage.
Initially, Lao Jin's complaints about his numerous ships seem like a disturbance to his peaceful life. However, when he sees his daughter's body and the reality sets in, his anger surfaces dramatically. The movie skillfully portrays his emotional transition, from physical reactions to smashing his head against the wall in grief. The contrasting families-Lao Jin's angry fatherhood and Jing Lan's strong yet weak motherhood-become the focal point of the film's main dramatic conflict.
Jing Lan, played by Zhou Xun, emerges as a new character, taking the initiative to collaborate with Lao Jin in pursuing the truth. Her proposal to hand over the suspect, Li Miaomiao, to the police within three days challenges conventional expectations of a mother's protective instincts.
As the plot unfolds, Lao Jin's unconventional means, fueled by societal and class differences, highlight the movie's exploration of revenge and its consequences. The film subtly conveys the complexities of love and societal expectations.
Love as a Performance
Erving Goffman's theory of dramatization is metaphorically applied in the film. The characters perform specific roles on the social stage, responding to societal expectations and norms. "Across the Furious Sea" weaves together themes of revenge, family dynamics, and societal expectations, presenting love and hate within the original family as intertwined elements.
The film reaches a climax during a typhoon scene, where tensions and emotions are visualized through a collision of three cars. The intertwined space lines symbolize the characters' fates, leading to Li Miaomiao's capture by Lao Jin.
However, the film takes an unexpected turn with the typhoon disrupting the unequal power dynamic between Lao Jin and Jing Lan. Lao Jin, holding Li Miaomiao, symbolizes possession of the truth. But is the truth what Lao Jin believes it to be?
As the film progresses, the director questions the performative nature of love and highlights the hypocrisy behind identity-based obligations. The characters' deliberate demonstrations of love become a complex "performance" influenced by societal expectations.
The movie concludes with impactful scenes, exposing hidden motives, resentments, and the harsh reality faced by the characters. The film's criticism revolves around its overt directing techniques, which some viewers find indoctrinating, aiming to manipulate emotions.
Family of Origin: Original Sin or Opportunity for Change?
The portrayal of the family of origin in the film focuses on creating the image of an incompetent and angry father, Lao Jin. However, as he reflects on his daughter Xiaona and her tragic fate, Lao Jin realizes that he never truly understood or respected his daughter.
The film delves into the pain experienced by contemporary young people, emphasizing the importance of acknowledging individual trauma within the family. While attributing all problems to the family of origin may be a psychological misunderstanding, the film succeeds in sparking broader empathy for the characters' struggles.
In exploring family relationships under patriarchy, the director critiques the imitated actions of love and the consequences of a performative father figure. The film questions whether the family of origin is an inherent obstacle or an opportunity for change.
The ending, far from a false reconciliation, challenges the characters to face the realities of their relationships. The film concludes with a powerful message: love is not about imitation; it requires genuine understanding and response.
As we navigate the complexities of family relationships, the film suggests that everyone has their own secret traumas. While pain cannot be quantified, taking initiative and being responsible for one's life is crucial. The film encourages viewers to firmly hold the reins of their lives, resolving fears, guilt, and anger towards parents to prevent their transfer onto future relationships.