Shot in 2014 and planned for release in 2015, Wu Yigong, Jiang Ping and Li Zuonan’s Goddesses in the Flames of War had to wait for the end of 2018 to finally land on Chinese screens, in general indifference, to dismal box-office despite its starry cast, and three years too late for the 70th anniversary of the end of the Sino-Japanese war, which it was meant to celebrate. It calls to mind The Bombing, another recent, long-delayed all-star war epic also produced by Jiang Ping, but with only a fraction of the budget, and a more unusual focus. Indeed, as its titles indicates, it focuses on the role of women in war, following a dozen female destinies in a village occupied by Japanese invaders, by the Yangtze river. A student (Bai Bing) works for the armed resistance, a seductress (Yin Tao) uses her charms to shield other women from abuse, a wealthy wife (Zhou Dongyu) struggles with her husband’s collaboration with the Japanese, a businesswoman (Yao Chen) uses her influence to find employment for those in need… At the center is He Saifei, the film’s actual lead, as a woman who loses both her husband and her son to the Japanese, and will stop at nothing to protect her last remaining child, and get revenge.
Asian Film Strike 