Yimou Zhang is one of the most famous and prolific Chinese directors. Some of his films, historical blockbusters based on traditional legends and stories, sprinkled with spectacular martial arts scenes, have gained international fame and circulation. It is possible that they finance and allow the making of his other films, those that deal with today's China or the troubled and controversial history of his country in the last century. The 2014 production 'Coming Home' belongs to this later category. It is a family drama that follows the fate of a Chinese family during the haunting decade of the Cultural Revolution and the years that followed. The year the film was made is also significant - 'Coming Home' could not have been made or would have looked differently a decade or two before 2014, and it would look differently or not be made today. The title of the film refers to the return from exile of a Chinese intellectual convicted of an unspecified guilt, who reunites with his family after almost two decades of separation. 'Coming Home' brings to screen a novel by a Chinese writer based in the United States, Geling Yan. It is an original approach to a topic present in the films and literature of the world, especially from other communist or former communist countries - the first example that comes to my mind os the one of the novel 'Panta rhei' by the Russian writer Vasili Grossman.

The film opens with a long prologue, which takes place during the period of maximum terror and repression. Political prisoner Lu Yanshi (played by Daoming Chen) escapes from the 're-education' camp where he was exiled and tries to see his wife, Feng Wanyu (played by Gong Li),and daughter Dan Dan (Huiwen Zhang) who was only three years old when he was arrested. The woman and her daughter are warned by the authorities not to receive him and to report on him as soon as he appears. In a heartbreaking scene, Feng Wanyu refuses to let him into the apartment. He is denounced by the teenage girl, educated in 'patriotic' spirit, who hopes that in this way her career as a dancer in 'revolutionary' ballets will not be barred. A few years later, the period of terror ends and the released prisoners return home. Feng Wanyu, who had suffered a shock and became amnesic in the aftermath of her husband's re-arrest, no longer recognizes him. Dan Dan, whose dreams of becoming a dancer had been shattered by being the 'traitor's daughter' and despite denouncing her father, together with Lu Yanshi will try to awaken the woman's suppressed memory to return the family life to normal.

The story focuses on the family cell and viewers can decide whether what they see on the screen can be generalized to the historical context in which the story takes place or even beyond. Is it possible to return to normalcy after long periods of separation and the traumatic experiences of those deported or imprisoned and of those left at home? Is Feng Wanyu's amnesia a coincidence or a symbol of a society trying to forget the dark episodes of its history? Each spectator will draw her or his own conclusions and lessons. But all, I believe will admire the acting. Gong Li and Daoming Chen are formidable actors who play with sensitivity and dignity the drama of a couple hit by the storms of history. The cinematography, combined with the authenticity of the sets and costumes, transports us to that period in history, unknown to those who did not live in a communist country. At one point I had the impression that the film is black and white, but the sensation was due to the almost mono-chromatic monotony of life, the simplicity of clothes, the decay of standard homes of the time. In the simple and impoverished interiors we witness the intrusion of the authorities into private life, the constant surveillance to which the common people were subjected. The scenes in the train station are memorable. The soundtrack is enriched by the music played by the wonderful pianist Lang Lang. The last part of the story and the conclusion of 'Coming Home' may seem melodramatic, but here too there is room for reflection. The characters do not revolt and take individual responsibility in front of the others for their share of the blame for what happened. Forgetting and forgiving each other is the key to their survival.

This is a very interesting idea for a film and actually criticizes, indirectly, recent Chinese history. Both made me excited to see the film...yet, sadly, I found the film incredibly flat....well acted but flat and lifeless.

The film begins during the so-called 'Cultural Revolution' in mainland China. It was a period in Communist Chinese history when Mao set off a period where supposed remnants of decadence and capitalism were purged. What actually happened is that intellectuals, professors and others were violently beaten, killed or imprisoned by student groups. Nothing much came of this movement (my opinion, of course, but one supported by most historians) and it mostly just made a lot of folks miserable. During this time, Lu is arrested for his decadence though exactly what he supposedly did is never mentioned in the film. Instead, he simply disappears and he finally returns home many, many years later. However, he's shocked to see that his wife's mind has snapped and Feng no longer recognizes him...and even calls out for help when he enters the home! All the while she keeps insisting throughout the film that 'Yu will be coming home on the 5th'...though in her mind the 5th never arrives.

So the setup for this is very interesting as is Yu's attempt to get his wife to recognize him. However, ultimately the film goes no where and is just depressing and tedious. The pacing is THE problem with the film, though the downbeat ending didn't help. Too bad, as the concept and the acting are quite good.

Zhang Yimou's Coming Home is a thought-provoking, slow-paced and emotionally moving drama that tells the tragic story of a family torn apart by the Cultural Revolution. The movie is surprisingly critical of China's past, takes its time to introduce the three profound main characters and offers a harrowing tale of family, love and loyalty.

The film revolves around professor, husband and father Lu who gets sent to a labour camp in Northwest China. Many years later, he escapes from the labour camp and attempts to visit his wife and daughter. While his wife is enthusiastic to see him again, the daughter has been heavily indoctrinated by the Communist Party and believes her father is responsible for the family's difficult situation. When she meets her father briefly, she reveals the information to the police and hopes to get the lead role in a ballet in return. Her father gets arrested the next day, her mother breaks down in tears and the daughter still doesn't get the lead role. Three years later, the Cultural Revolution has come to an end and Lu finally comes home. He is welcomed by his cold and distant daughter Dandan and is shocked when he realizes that his wife Yu doesn't remember him anymore. He learns that she is suffering from amnesia and tries to reawaken her memory through déjà vu by showing her pictures of their past, reading her the letters he wrote her and playing music they have listened to together. Even though his wife still does't recognize him, Lu doesn't give up on her and prefers to spend his life being a stranger to his wife instead of trying his luck elsewhere.

The movie convinces with stunning acting performances. Chen Daoming incarnates the faithful, intellectual and patient professor perfectly. Gong Li is stunningly realistic as confused, fragile and longing teacher. Zhang Huiwen delivers the goods as desperate, haunted and manipulated daughter. Based upon the novel The Criminal Lu Yanshi by Geling Yan, the script convinces with its critical realism. This is supported by honest settings that portray the poverty and simplicity of life in urban China throughout the seventies.

Potential viewers must be prepared to watch a slow-paced movie without any surprising plot twists, side stories or vivid outbursts.

If you appreciate realistic dramas, this movie will grow on you and might move you by the end as you will get attached to the three tragic characters. In Canada, many members of the First Nations have testified being unable to express genuine love to their children because they have been abused in their own childhoods in residential schools. This tendency transcends through generations and is still an ongoing problem even decades after the end of this silent genocide. In a certain way, something similar can be said about certain people from China who have been indoctrinated in a way that they are unable to love their own family or to get engaged in a passionate relationship until today. A movie like Coming Home helps this long and difficult healing process and shows that family, love and loyalty are more important than educational, material and political matters.