Chinese Film “Like a Rolling Stone” Highlights Women’s Struggles

In a famous 1923 speech, Lu Xun raised questions about the future of rebellious women escaping unreasonable marriages, his comments turning Henrk Ibsen’s character Nora into a symbol of feminism in China. Over a century later, Su Min has emerged as a contemporary figure of significant influence. In 2020, she left her abusive husband to embark on a solo road trip across the country. Now, her journey has gained significant traction, earning her five million followers across various platforms and over 1.5 billion views on social media posts, which has sparked important discussions about feminism.

Released on September 15, the film Like a Rolling Stone (出走的决心) delves into the struggles of its main character, the Su-inspired Li Hong (played by Silver Bear Best Actress Yong Mei), a mother trapped in an oppressive marriage. Directed by Yin Lichuan, the film highlights themes of female empowerment and generated substantial discussion during the Chinese Mid-Autumn Festival — particularly due to its all-female production team. Su’s story continues to resonate, inspiring ongoing conversations about women’s rights in contemporary society.

Like a Rolling Stone (出走的决心)’s film trailer. Video via Mist Trailers’ YouTube.

Su’s story in the first half of her life is ordinary. She grew up in a traditional family with three younger brothers in Henan province. During Su’s college entrance exams, her father left with her three younger brothers for higher salary in Henan, which left Su Min to face the exams alone in Chengdu (her family’s hometown in southwest China). 

Unfortunately, Su failed the entrance exams. She described her marriage as a way to “run away from her original family,” yet she felt imprisoned by a life of repetitive housework and caring for other family members. Worse still, she also had a selfish and abusive husband — one who controlled finances, demeaned her, and physically abused her. 

For years, Su Min suffered in silence, afraid to divorce because of societal expectations and concerns about her daughter’s future. At the age of 56, she finally decided to run away for a second time — by starting a road trip around China alone. In doing so, she stepped into a life different from that of most Chinese married women. She stopped living by others’ judgments and left her family behind.  

During Li Hong’s depression episodes, everything she sees turns black and white. Film still via Like a Rocking Stone. 

Su’s story quickly resonated with many women. Some younger women saw reflections of their own mothers, while others recognized their own experiences within their marriages. Four years after her departure from home, Like a Rolling Stone was released. Through the film’s masterful use of sound, we hear the cacophony of voices in Li Hong’s life — her husband’s complaints, her daughter’s pleas for help, and even her grandson’s cries. 

These layers of sound reflect the overwhelming pressure that leads to her diagnosis of depression. After her grandsons went to kindergarten, Li Hong finally uses her savings from her job in a supermarket to leave the family and start on her solo trip. The film stops there. 

Su Min (top and bottom right) together with Yong Mei (bottom left). Image via NetEase.

Through this story, Like A Rolling Stone shows the importance of self-empowerment for women trapped in oppressive situations. In traditional Chinese culture, women have long been trapped in the distorted gender role as domestic caregivers. They are expected to be obedient, gentle, and not too flashy — but still good-looking at the same time. 

As a rare Chinese film centered on an ordinary middle-aged female protagonist, Like a Rolling Stone aims to push the boundaries of feminist discourse even further. In fact, its original title was Dear Mom (亲爱的妈妈), but when this was criticized by potential viewers, the filmmakers rapidly changed it to the current title. 

The film also cleverly depicts the role of a daughter with imperfection and hesitation. At the peak moment when Li Hong’s daughter finally understands and supports her mother’s choice, the music used is “The Last Rose of Summer,” which also appeared in the 2017 American movie Three Billboards Outside Ebbing, Missouri, another film with feminist themes.

Su Min posing in the mountains whilst on her adventures. Image via 50岁阿姨自驾游’s Weibo.  

The film’s raw portrayal of the long-ignored suffering of middle-aged women has made some male viewers uncomfortable, resulting in negative reviews on Douban, a popular film review platform. However, the film doesn’t even exaggerate Su’s experiences. 

Many viewers, regardless of gender, age, or class, found themselves reflecting on their own mothers or even their future selves after watching. Regardless of mixed reactions, Like a Rolling Stone continues to challenge social norms, presenting the possibility of an independent life for middle-aged women. 

Outside of the film, Su has entered the fourth year of her journey — undeterred by both praise and harsh criticism. Su Min acknowledges that to fund her travels, she must maintain her social media presence, and thus exposure to public negative comments is inevitable. 

Now, she continues her solo road trip with a new RV she and her daughter purchased together. Su films content for social media and her daughter edits at home. Having explored many cities in China, she is now filled with confidence and plans to embark on more overseas trips in the near future.

Banner image via Weibo.

Vinida Weng Brought Fuzhou Dialect Hip Hop and Amapiano to Central Park

Did you know there’s a secret signal amongst people from Fuzhou? By curling their ring fingers and pinkies, then shaking their hands with the other fingers unfurled, Fuzhounese people emphasize a sense of disapproval. Despite its potentially negative connotations, this simple hand gesture also embodies a connection between Fuzhou, the rest of Fujian province, and their diasporic communities. 

And, if you happened to be in New York’s Central Park last week, you may well have seen this gesture. Last Thursday, the Queen of Chinese rap, Fuzhou native Vinida Weng, held her concert, Yaba!, in the New York City park, electrifying the city’s vibrant Fujianese immigrant community. The rapper’s recent hit, “WAIYA!,” is performed in Fuzhou dialect, and features the hand gesture in a music video that was shot around her hometown.

One fan exclaimed: “I heard aunties arguing in Fuzhounese in Chinatown this morning, and now I’m seeing Vinida rap in Fuzhounese, what a surreal experience.”

Hearing Fuzhounese in an up-to-the-minute pop song may be rare, but it is a common occurrence in New York’s Chinatown. In the 1990s, an overwhelming majority of Chinese people who immigrated to the U.S. came from Fuzhou. In New York, they eventually opened their own small businesses and restaurants. In Lower Manhattan’s Chinatown, Fujianese eateries like the cash-only service counter service restaurant Shu Jiao Fu Zhou frequently have lines out the door for their dumplings and peanut noodles.

Beyond celebrating Fuzhounese language and culture, Vinida’s “WAIYA!” also features an innovative beat. The song uniquely blends Fuzhounese lyrics with the musical genre of Amapiano, which is itself a mix of house, jazz, and Afrobeats, originating from South Africa. With Amapiano and Afrobeats making waves globally, “WAIYA!” is considered to be the first Chinese Amapiano song. The track was composed and produced by Vinida’s boyfriend and longtime collaborator, Harikiri.

In the comment section on the song’s Youtube page, many South African viewers voiced their approval for Vinida’s take on the genre.  One commenter wrote: “I thought my eyes were blurry when I saw ‘Chinese Amapiano.’ This did not disappoint my curiosity, the lyrics, the rhythm, the beat, it evolved into its own style.”

At the concert in Central Park, not only did young fans show up for Vinida, but netizens also spotted older Chinese aunties bobbing their heads to the beat. There’s nothing more New York than a Fuzhounese song in a South African style bringing together different generations of Chinese people at a rap concert!

Banner image via Zhongwen Shuochang Quan Jilu.

OUHE Festival Set to Bring Electronic Music to Shanghai’s Great World

This Chinese National Day holiday, Shanghai is getting a new electronic music festival, one with a particularly impressive pedigree when it comes to its organizers, venue, and lineup. Put together by Kaifeng-via-Vancouver DJ and producer Yu Su, Shanghai/Xiamen-based DJ and producer Knopha, and multidisciplinary artist Youpo, OUHE will take over Shanghai’s historic Great World (大世界, Dàshìjiè) entertainment complex on October 2 and 3.

The festival will feature of a mix of respected tastemaker DJs from the West (including Ben UFO and Optimo), Asian artists making a name for themselves on the international stage (such as Mayurashka, Mr. Ho, and Yu Su and Knopha themselves), and fresh faces from the scene in Shanghai and elsewhere in China (chuan, Lv Zhiliang, and more).

The Great World in Shanghai, venue for upcoming electronic music / house / techno festival OUHE
The Great World, in all its early Reform and Opening Up splendor. Image via OUHE.

The Great World, in the center of the city, meanwhile, provides a setting quite different from that of most Chinese electronic music festivals, which in recent years have often been held in secluded resorts. First opened in 1917, the Great World was a multipurpose arcade and entertainment complex where, prior to Liberation, glamor came mixed with a side of sleaze. Later, it was transformed into a children’s indoor amusement park, cementing its place in the memories of Shanghainese kids who grew up in the 1980s and 90s — including festival co-organizer Youpo, and, hopefully, other local music fans excited to dance at their childhood stomping ground.

Plus, as Knopha says with a chuckle, “I like the fact that it used to be called ‘People’s Playground.’”

A recent mix by Knopha to get you into festival mode.

By hosting the festival downtown, and wrapping up before midnight each day, OUHE aims to offer a different experience from an (extremely) late night at a techno club: something more relaxed and accessible even to slightly older dance music fans with responsibilities to worry about the next morning.

While the music on offer promises to run the gamut from house and techno to ambient, dubstep, and new wave, the lineup is unified by the organizers’ focus on Asian talent, whether at home or in the diaspora. For example, Hong Kong’s Mr. Ho, a house music specialist who managed to tour the mainland during the Covid pandemic, will DJ back-to-back with Tokyo veteran Mayurashka, whose “really good sense of atmosphere” Knopha enthuses about. Sam Goku may hail from Germany, but he has Chinese roots, and his airy techno has resonated deeply with local listeners.

Even the festival’s major international artists have pre-existing relationships with the Chinese music community. As Knopha points out, through past visits to the country London’s Ben UFO has influenced many Chinese DJs to adopt a bass-heavy, UK-inspired sound. And Glasgow duo Optimo — who are just as likely to drop echo-drenched dub or scratchy post punk into their sets as pounding techno — were a key touchstone for Yu Su early in her DJ career.

Seoul’s Salamanda, who will play live at OUHE’s October 1 opening performance.

An opening party focused on live performances, happening at lounge-ish Shanghai club Wigwam on October 1, perhaps best illustrates the spirit of community and exchange that OUHE seeks to foster. The event features two projects that Knopha describes as “equally important when it comes to when it comes to the leftfield, ambient, world music genre”: American-Indonesian cross-cultural collaboration Asa Tone and Korean duo Salamanda. They’ll also be joined by rising Guangzhou producer Cola Ren, who shares their fondness for cyclical percussion patterns and sparkling melodies that recall traditional Asian scales.

With the bill completed by young Chengdu DJs Sonicare and SeventyMaos (who Knopha praises for their wide-ranging musical knowledge), it promises to be a night showcasing the breadth and quality of electronic music in Asia.

As Knopha explains, “we want the audience to be proud of our own artists” — a fitting sentiment for a festival bringing electronic music to a storied venue in the heart of Shanghai.

Follow RADII and OUHE on Instagram for a chance to win tickets, or purchase tickets on OUHE’s WeChat page.

Banner image by Haedi Yue.

Meet the Chinese Artist Spreading Feminism Through Phone Cases

Feifei can’t recall the last time she shared her last name with someone new. Choosing not to be identified by it, she feels liberated from the social constraints that last names, inherited from family, often impose. To her, they don’t reflect who a person truly is.

In Chinese, “Fēi” (飞) means to fly, an action of breaking free from restrictions. Fei is her name and her philosophy, and she celebrates freedom and unconstrained femininity in her art, turning taboo subjects like periods and reproductive health into powerful and visually engaging statements. In the world of her imagination, women are unburdened by patriarchal repression.

The 26-year-old Feifei is a self-trained artist living in Zhejiang province who puts her feminist paintings on phone cases to reach a wider audience. Despite never having attended college or formally studied art, she began doodling on an iPad in 2020. Though she occasionally posts her work on Xiaohongshu, she was put off by the platform after some users reported her posts for spreading “vulgar and pornographic content.” But on Taobao, she has accumulated nearly 40,000 followers over the years for her store Feidie Moon (飞蝶月亮, Fēidié yuèliàng). For her, creating art is an act of spreading love — a gentle love that everyone holds the potential for.

To See phone case by Chinese artist Feifei, an expression of her feminism
Feifei’s To See (2022) on a phone case.

In one of her works, she painted a butterfly closely resembling the form of a vagina. Its shape also integrates the oviducts, emphasizing the connection to female reproductive anatomy. The butterfly symbolizes transformation, freedom, and the natural cycle of life, tying everything back to the themes of menstruation and womanhood. A star is positioned above the butterfly, representing guidance, hope, or the cyclical nature of menstruation, akin to the phases of the moon. Below the butterfly are pink droplets, which symbolize menstrual blood. These droplets seem to be falling onto a soft, pink sanitary pad. On either side of the pad, small white spheres symbolize the eggs or the idea of fertility, further connecting the image to female reproductive health. 

She named the 2022 painting To See (看见, Kànjiàn), printed it on phone cases, and put them up for sale on Taobao.

As she writes on the product page, “See the sanitary pad, see the essential hygiene product for half of the world’s population. See the vagina, see the fallopian tubes, see the uterus and its regular bleeding. Face your own organs and natural biological processes without shame.”

“If any girl feels something from my art, no matter what or how much, I’d consider it a kind of force that challenges patriarchy. My contribution may not be powerful, but if I can be a small part of this collective push, I’d be very happy,” Feifei said.

Feminist phone case by Chinese artist Feifei, an expression of her feminism
Another of Feifei’s phone cases.

Overcoming shame and silence

In her creative realm, period blood, and female bodies are blended harmoniously into nature, with elements like flowers and butterflies often appearing as symbols of growth, transformation, and fertility. These natural elements are carefully integrated into the feminine forms, blurring the line between human and nature, reinforcing the idea that womanhood and the natural world are intrinsically connected. 

Menstruation is a recurring motif in Feifei’s work. Throughout history, menstruation has been a taboo topic that comes with shame and silence. In China, girls are taught not to speak openly about their periods, and menstrual products are discreetly wrapped in black plastic bags.

Feifei explained that her awareness of feminism led her to question the coded language surrounding menstruation, the secrecy of the black bags, and the silence surrounding the topic. As she learned from Sacred Child (神圣的孩子, Shénshèng de háizi), a feminist podcast on Xiaoyuzhoufm, menstruation has long been viewed as a powerful form of feminine spiritual energy, symbolized as the “flower” of the womb, representing fertility and life. The mystical and healing power of menstruation was hailed in shamanic rituals. However, patriarchal interpretations have overshadowed this sacred view, casting menstruation as taboo and impure. 

While some ancient cultures revered menstrual blood, male-dominated religious systems have often labeled it as contaminating. This duality — sacred yet shunned — forms the basis of period stigma, which persists today. Societal pressure to hide menstruation, through euphemisms like “dà yímā” (大姨妈, “aunt”) and silence, reflects discomfort with this natural process, masking its deeper spiritual significance and undermining its positive cultural value.

To give one recent example of mainstream attitudes towards menstruation, in September 2022, the debate over the unavailability of menstruation products on high-speed trains sparked heated discussion on Chinese social media. A woman shared her frustration on Weibo about not being able to buy period products on the train when her period came earlier than expected. China Railway responded that feminine pads were a “private item” that was “not normally sold.”

The Flower of the Uterus by Chinese feminist artist Feifei
Feifei’s The Flower of the Uterus (2022).

Feifei’s The Flower of the Uterus (2022) was born out of the collision of period shame and the spiritual dimensions of menstruation. For this piece, Feifei’s imagination formed a whimsical garden where femininity is celebrated in its purest form. In the garden, women fly naked; flowers are the uterus, and dewdrops are period blood. In this pastel-colored land, women are free from any form of patriarchal pressure and fully embrace womanhood.

“Through a feminist lens, I’ve realized the various ways women have been unfairly treated — from ancient times to today, from structural issues to specific instances, spanning societal events, news, and even my own life experiences,” she said.

A male-dominated art world

According to the study “Female Art in Chinese Contemporary Art,” female artists express social views, emotions, and creative ideas from a distinct female perspective, often confronting and critiquing traditional aesthetic standards shaped by patriarchal norms. Despite the influence of foreign feminist movements, China has not yet experienced an organized feminist art movement similar to that which occurred in the West in the 1960s and 70s, leaving Chinese women artists in a passive societal position in a male-dominated art world. Historical standards have excluded women for not conforming to male tastes, but as more female artists emerge in the Chinese contemporary art scene, they are bringing delicate emotions and perspectives that challenge patriarchal standards and highlight the ongoing need for the recognition of female identity and rights. 

“Not only in visual arts, women’s voices are rising in other creative mediums like poetry, music, and performance. Topics like menstruation, the uterus, sanitary pads, IUDs, the body, and breasts are becoming more normalized,” Feifei said. “Patriarchy is on the path to collapse, and we are witnessing this process unfold.”

Nature nourishes Feifei, calming her mind and spirit. In 2024, Feifei moved away from her previous home base of Hangzhou, Zhejiang’s capital. Now, residing in the mountains elsewhere in the province, she is renovating a farmhouse from scratch and cultivating her own land. As Feifei tries to find inner peace through an idyllic and self-sufficient lifestyle in the woods, she is reflecting on feminism and explores its deeper meaning.

“Feminist art isn’t limited to explicitly expressing feminist views in the work itself. The fact that women can pursue what they love in any field, regardless of whether their work directly expresses ‘feminist’ themes, is an expression of feminism,” she said.

Banner image by Haedi Yue. All other images via Feidie Moon.

Tai Hang Fire Dragon Dance: A Fiery Tribute to Hong Kong’s Hakka Heritage

A centerpiece of Hong Kong’s Mid-Autumn Festival, the Tai Hang Fire Dragon Dance draws locals and tourists every year, showcasing the vibrant cultural heritage of the Hakka community. Recognized as an Intangible Cultural Heritage of the city since 2011, this dynamic performance has been celebrated for over 140 years. 

The Hakka, a subgroup of the Han Chinese, are known for their resilience and strong community ties. During the 13th century, they migrated from northern China into southern provinces like Guangdong and Fujian, bringing with them unique cultural practices that have been preserved over generations. In Hong Kong, there are today approximately 2 million people of Hakka origin. The Fire Dragon Dance serves as a vital link to the past, celebrating the traditions and artistry of the Hakka people.

Creating a fire dragon is a meticulous process where the materials are dried and rolled up, taking about two weeks to complete. Each year, a new dragon is constructed, measuring 67 meters in length and weighing over 90 kilograms for its body — the head alone weighs more than 45 kilograms. Made from rattan frames, ropes and straws, the dragon is brought to life through rituals performed before the dance begins.

Drums and gongs are played at the start of the ceremony. Image by Sebastien Raybaud. 
Performers parading onto the streets with large lanterns and signs. Image by Sebastien Raybaud. 
Highlights from the Tai Hang Fire Dragon Dance. Video via RADII’s YouTube. 

RADII talked to a representative from the Tai Hang Fire Dragon Heritage Centre, who goes by Miss Lau. She shared insights into this cherished tradition and its significance in Hong Kong, emphasizing the dedication of participants in preserving their cultural heritage.

From September 16 to 18, the Fire Dragon Dance festivities featured a variety of performances, starting with vibrant skipping rope dancing, full of acrobatics and rhythmic movements, followed by the enchanting Little Dragon Dance (小火龍). This captivating performance, as Lau explained, debuted in 2023 and this year consisted of around 100 young performers carrying a 20-meter-long LED dragon. The performers trained for three months under the guidance of their community mentors to master intricate moves and techniques.

Later, the event moved on to the impressive Fire Dragon Dance, where around 300 participants — including veterans and young apprentices — skillfully brought the dragon to life. Before the dance begins, rituals are performed at Tai Hang’s Lin Fa Kung (蓮花宮) to awaken the dragon. Cheung Kwok-ho, 52, acting Commander in Chief of the Tai Hang Fire Dragon Dance, leads prayers in Hakka dialect. 

The glowing Fire Dragon weaves its way through the busy streets of Tai Hang. Images by Daryl Eng.
Incense sticks are placed onto the dragon’s body, which is 67 meters long. Image by Daryl Eng. 

After this, the dragon was moved to the parade starting point on Ormsby Street, where the head is decorated and adorned with burning incense sticks. Every year, over the course of three days of celebration, the dragon traverses three routes through the streets of Tai Hang, captivating audiences with its vibrant displays.

Lau, the Heritage Centre’s representative, explained that in the past, only locals from the Tai Hang neighborhood were allowed to participate. Now, however, members of Hong Kong’s international community can sign up and join the performing crew, enhancing the diversity and inclusivity of the event.

As the fire dragon paraded through the streets of Tai Hang, the performers captivated the audience with their energy and artistry. Throughout the neighborhood, the dragon performed various feats, such as “Dragon Ball Playing” and “Fire Dragon-Twining Makes Pyramids.” The dynamic beats of drums and gongs enhanced the spectacle, while the accompanying Little Dragon Dance featured over 20 children holding lanterns modeled after mythical symbols, all of which enhanced the festive atmosphere and showcased the community’s rich cultural heritage.

Young performers skipping in unison to high energy music. Image by Daryl Eng. 
Little Dragon Dance (小火龍) members performing. Image by Daryl Eng.
Accompanying the dance, around 20 children came out with traditional lanterns. Image by Daryl Eng.  

The Heritage Centre’s representative stated that adverse weather conditions are always a challenge, especially as rain could extinguish the incense used during rituals, potentially disrupting the performance. 

Fortunately, as Lau explained, the participants relied on spiritual protection to ensure the event could proceed smoothly, as it has every year. She emphasized that the key message for spectators was a wish for great health, peace, and prosperity.

At its core, the Fire Dragon Dance conveys powerful messages of community, resilience and cultural pride. Participants highlight the importance of passing down traditions to preserve the hard work and joy associated with the dance. The event serves as a platform for fostering team spirit and understanding the rich history of Tai Hang, reinforcing the idea that cultural heritage is a shared responsibility.

With its vibrant displays and heartfelt performances, the Tai Hang Fire Dragon Dance not only captivates those who witness it but also fosters a lasting connection among participants from diverse backgrounds. As the dance continues to evolve, it promises to remain a lively celebration of cultural heritage, drawing communities together in joy and unity for generations to come.

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On the other end of the Tai Hang neighborhood, a banner celebrated this year’s Fire Dragon Dance, the 145th edition. Image by Sebastien Raybaud. 

Banner image by Daryl Eng.

China’s EV Market: Targeting Young Buyers Amid Affordability Challenges

Not only are matchmaking aunties inquiring if you own a car, but car companies in China are also taking note. Many EV manufacturers are positioning their latest models as every young person’s first car. 

Last week, Huawei released its latest car model, the Luxeed R7. Marketing around the vehicle, Huawei’s first SUV, heavily targeted younger buyers. One car influencer on Xiaohongshu called Cici noted that the car’s features are especially appealing to young people and women in particular, featuring high-tech capabilities such as hood opening with two gentle knocks. 

And Huawei is just one of several car manufacturers that have recently been marketing towards younger consumers. Netizens with a sharp eye also spotted Xiaomi’s latest SUV model is still under development. Internally referred to as MX11, which is expected to release at the end of 2025. As Xiaomi’s SU7 references Ferrari’s Model 3, this latest car is speculated to be inspired by Ferrari’s Model Y.

Looking at these leaked photographs, netizens are claiming that young people’s first “Ferrari” is on the horizon, anticipating Xiaomi’s upcoming car luxury vehicle.

What connects these models from different manufacturers is a number of features that car advertisers typically reference when marketing an EV towards young buyers.

For example, the car blogger account 小二谈车 (Xiao Er Talks Cars) highlighted the XPeng Mona M03 for its futuristic exterior and features like LED headlights. Inside, the vehicle is highly equipped with the latest technology, which can be accessed via a hovering touchscreen. The car’s functionally large trunk is also perfect for weekend outings, catering to young buyer’s hobbies.

XPeng CEO He Xiaopeng presenting the Mona M03. Image via 小二谈车 (Xiao Er Talks Cars).

But are young buyers really buying in? 

One caveat is the high price of these EV cars. According to the WeChat blog Vista, most of these models start at 250,000 RMB (around 35,000 USD), a price inaccessible to most young people. For comparison, a Tesla Model 3 starts at 231,900 RMB (around 32,000 USD).

Judging from data on the consumer demographic of EV cars, the average age for buying one’s first car is 35 years old. To car companies, however, 35 years old is still considered “young” — far from the youthfulness of new college graduates that car marketers are suggesting. 

Millennials and Gen Zs aged between 26 and 30 who can afford these cars are almost all concentrated in cities like Hangzhou, Shanghai, and Beijing. Buyers from big cities are certainly not representative of all young people in China, and for most Chinese people in their early 20s, these car ads are merely sowing seeds for their first car purchase as a “young” person at age 35.

Banner image via Qiche Zhijia.