Fan Bingbing's Return to the Silver Screen
Returning to the Tokyo International Film Festival 15 years after she won best actress for Buddha Mountain in 2010, Chinese superstar Fan Bingbing is making waves again with her compelling performance in the competition entry Mother Bhumi. This film showcases a dramatically different side of Fan, who plays a single mother, farmer, and spiritual healer in a diverse rural Malaysian village. Her portrayal is so transformative that she is almost unrecognizable.
The film, directed by Chong Keat Aun, explores themes such as colonial legacy, ethnic tensions, land rights, politics, misogyny, family drama, spirituality, and the supernatural. The cinematography, led by Leung Ming-kai, highlights the Bujang Valley setting, while Fan's performance anchors the narrative.
Once China's highest-paid actress and among the world's top earners, Fan has appeared in numerous hits like I Am Not Madame Bovary, The White Haired Witch of Lunar Kingdom, and One Night Surprise. She also gained international recognition through Hollywood films such as Iron Man 3, X-Men: Days of Future Past, and The 355. However, her career faced a major setback in the late 2010s due to tax evasion allegations, leading to fines and retroactive tax bills reportedly amounting to $100 million. After a five-year hiatus, she began reappearing in overseas projects in 2022. Her role in Mother Bhumi signals a potential artistic renaissance.
During the festival, Fan sat down with The Hollywood Reporter to discuss her role, her time away from the screen, and her views on Chinese cinema.
What Drove Fan to Join the Project?
Fan revealed that she was drawn to the story before meeting the director. She had already seen two of his previous films, Snow In Midsummer (2023) and The Story Of Southern Islet (2021), and was impressed by his unique cinematic style. When they met, there wasn’t even a finished script yet, but the story deeply moved her. She described the character of a woman who is a farmer by day and a spirit-medium by night as fascinating and complex.
Preparing for the Role
The role was challenging for Fan, as it was far removed from her own experiences. She spent considerable time working with the director to understand the character. The director’s personal connection to the story helped bridge the gap between her and the role. Language was another hurdle, as she had to learn multiple dialects. She practiced daily using recordings provided by the director and eventually memorized all the lines without needing a script.
For the farming scenes, she lived with local farmers in Kedah, Malaysia, learning how to transplant rice and herd buffaloes. Despite the difficult conditions, including snakes and insects, she embraced the experience as part of the process.
Learning the Healing Rituals
The shamanic elements of the character were modeled after the director’s father, a well-known healer in the region. Fan studied his rituals, speech, chants, and expressions through videos. She mimicked him closely to capture the essence of the role.
Lessons from the Role
Fan reflected on what she learned from this role, emphasizing the complexity of the character. The woman is powerful and helps others, yet she faces her own struggles and limitations. This experience made Fan think deeply about the nature of power and humanity. It also highlighted the broader themes of land conflicts and the importance of defending one’s rights.
Working Across Cultures
Fan has worked with filmmakers from China, Asia, and Hollywood, noting differences in their approaches. While Hollywood productions are highly structured, Malaysian filmmaking felt more organic and relaxed. She found the experience refreshing and appreciated the cultural exchange.
New Projects and Experiences
Fan recently wrapped a film in Japan starring Lily Franky and Gabriel Byrne. Based on a novel by Jun'ichirō Tanizaki, the film explores the relationship between an old man and a young woman. She praised Lily Franky’s acting and noted that most of her dialogue was in Japanese, adding another language to her repertoire.
Reflections on the Hiatus
Being away from the film industry for five years allowed Fan to reflect and grow. She discovered new creative impulses and collaborators, which she viewed as a gift. This period of reflection deepened her understanding of life and strengthened her emotional range as an actor.
Thoughts on Chinese Cinema
Fan expressed concerns about the current state of Chinese cinema, noting a lack of diversity and challenges in supporting art-house films. She believes that the environment for such films has changed significantly, with fewer opportunities for them to thrive.
Final Thoughts
When asked if she would return to make films in China, Fan acknowledged the challenges but emphasized her desire to work on meaningful projects. She hopes to contribute to a more diverse and supportive film industry.
A Note on Smoking
Fan humorously addressed the question of her smoking in the film, clarifying that she had never been a smoker. The cigarettes used were hand-rolled and stronger than regular ones, which she found challenging to handle.
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