
Nanking massacre film speaks to the resilience of ordinary Chinese
letters@scmp.com or filling in
this Google form . Submissions should not exceed 400 words, and must include your full name and address, plus a phone number for verification
A new Chinese film recounting the
Nanking massacre has prompted a national reckoning with history.
In its first week in release, Dead to Rights grossed 814 million yuan (US$113 million) and achieved an impressive score of 8.6 out of 10 on Douban, a prominent review platform. This signifies more than box office success. It is a sign of collective engagement with historical memory.
Drawing from documented atrocities, the film presents an opportunity for audiences to confront this chapter of World War II. On social media, many have said that although the movie is difficult to watch, it is a must-see.
The imagery is haunting – a blood-red river, a blade hovering over an infant. Silence envelopes cinemas across the nation, filling viewers with sorrow and determination: we must remember to guard against any recurrence.
For me, the film has deep personal resonance. In my family's ancestral burial ground, deep in the Taihang Mountains in northern China, there stands an empty tomb dedicated to my grandfather's uncle, who was brutally killed during the war of resistance against Japanese aggression, with no remains left. I could only learn through my elders' sighs and laments that he was a man of elegance and the pride of the family.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


South China Morning Post
an hour ago
- South China Morning Post
China TV host ignites debate over childlessness, reveals plans to hire carers for old age
Nationally renowned and childless Chinese television host Ouyang Xiadan has attracted much attention on social media by addressing questions about who will care for her in old age. She also revealed her plans to hire professional carers later in her life. A widespread online discussion was sparked when Ouyang released a video on her personal social media account on July 29. The television host has 700,000 online followers. Ouyang Xiadan has long been a familiar face on national television in China. Photo: Baidu In the video, she shared a story about her friends caring for their elderly mother while responding to a frequently asked question from netizens.


South China Morning Post
2 hours ago
- South China Morning Post
How Wong Kar-wai's short The Hand made the 2004 anthology film Eros worth watching
This is the latest instalment in a feature series reflecting on instances of East meets West in world cinema, including China-US co-productions. Anthology films consist of several shorter works, often connected by a common theme or wraparound story. Sometimes they have multiple directors, such as 1989's New York Stories, which features tales by Martin Scorsese, Francis Ford Coppola and Woody Allen. Named after the Greek god of love and desire, Eros (2004) explores different ideas of eroticism. It is an international effort, with contributions from Hong Kong's Wong Kar-wai , America's Steven Soderbergh (replacing Spain's Pedro Almodóvar) and Italy's Michelangelo Antonioni It is a lopsided proposition. Antonioni, who made 1960s classics such as L'Avventura and Blow-up, was by far the biggest name at the time, with Wong and Soderbergh recruited as fans of his work. Play Apparently, Soderbergh just wanted to be on a poster alongside the Italian legend. Wong, meanwhile, called Antonioni 'the guiding light for me and filmmakers of my generation, so I'm deeply honoured to participate in this project and show him my gratitude'.


South China Morning Post
3 hours ago
- South China Morning Post
Opera Hong Kong brings The Merry Widow to the stage
Opera Hong Kong is set to bring a treat to the city's classical music scene this summer with two performances of Austro-Hungarian composer Franz Lehár's beloved operetta, The Merry Widow, at City Hall on August 15 and 16. Advertisement For those intimidated by or unfamiliar with the art form, an operetta offers an inviting first step: short, humorous and more conversational in music and story than capital-O opera. Based on an 1861 French comic play, L'attaché d'ambassade, by Henri Meilhac, The Merry Widow has earned a reputation for being as approachable as it is melodically rich. Soprano Candice Chung is part of an all-local cast of young singers from Hong Kong appearing in The Merry Widow. Photo: Handout Premiering in Vienna in 1905, it tells the story of the recently widowed Hanna Glawari, in the fictional nation of Pontevedro, who has recently inherited a vast fortune from her late husband. With the country's finances in peril, the local nobles cook up a clever plan: to marry Hanna off to a fellow Pontevedrian, so her late husband's millions stay within their borders, setting the stage for the ensuing shenanigans. Opera Hong Kong has pulled together an all-local cast of young singers from within its own ranks for the performance. Leading the show are sopranos Candice Chung Ka-yan and Rianne Lau Cheuk-ying, sharing the role of Hanna, with tenors Henry Ngan Ka-lok and Lam Kwok Ho as her would-be suitor, Count Danilo, and baritone Albert Lim Chun as the scheming Baron Zeta. Soprano Rianne Lau will share the role of Hanna with fellow singer Candice Chung for the Opera Hong Kong performances. Photo: Handout Conductor Michael Koehler and opera director Tang Xinxin, both respected names on the international stage, round out the creative team.