Chinese filmmaker Vivian Qu’s latest drama, Girls on Wire, premiered to an emotionally charged audience at the Berlin Film Festival, where it elicited both laughter and tears during its screening. The film, which is part of the festival’s main competition, has quickly become a conversation starter due to its poignant portrayal of two cousins navigating personal dreams and family responsibilities amid China’s rapid social transformation.
Set in the high-stakes world of film stunt work, Girls on Wire presents an intimate portrait of its central characters—Fang Di and Tian Tian—against the backdrop of a changing China. The drama explores complex themes such as independence, generational shifts, and the emotional cost of pursuing one’s dreams.
Starring Liu Haocun, who made a breakout performance in Zhang Yimou’s One Second, and Wen Qi, who previously collaborated with Qu on Angels Wear White, the film brings together two of China’s brightest young talents. Haocun, a rising star, and Wen, a Golden Horse Award winner for The Bold, the Corrupt, and the Beautiful, deliver compelling performances that highlight the generational divide in Chinese society.
The film follows Fang Di, who leaves her home to become a stunt performer in order to pay off family debts, while her cousin Tian Tian remains behind, dealing with the burden of caring for her father and facing dangerous encounters with local gangsters. Despite their shared struggles, their relationship is fraught with tension, with both women striving for freedom, independence, and the fulfillment of their dreams.
Qu, known for her thought-provoking films such as Trap Street and Angels Wear White, brought a unique sensibility to Girls on Wire, especially in its stunt sequences. Rejecting the typical focus on spectacle, Qu prioritized authenticity, ensuring that the physicality of the stunts was grounded in realism. One particularly challenging water sequence involved two full nights of shooting, with Wen performing many of her own stunts. “We didn’t know whether the actors could really do all these movements,” Qu recalls, “But she was fantastic. She actually did most of the incredible things. And I kept a long take on her so that the audience can really see it’s her doing everything.”
In addition to its action sequences, the film’s exploration of the often-invisible labor of stunt performers was central to its narrative. “Most of the time we just ignore them,” Qu says, describing her approach to showcasing their hard work. “I want to feel the friction of the wires. I want to feel the tightness of the vest. I want to feel the cold of the water.”
Qu, who made history as the first female director to win Best Director at both the Golden Horse Awards and the China Film Director’s Guild Awards, continues her investigation into pressing social issues. “I think for me to chronicle this era, from the 90s till now, is very important,” Qu remarks. “China has changed drastically in a short time, and I believe we can find some answers in the past.”
The Berlin premiere holds particular significance for Qu, who also produced Diao Yinan’s Black Coal, Thin Ice, winner of the Golden Bear at the 2014 Berlin Film Festival. “This premiere gives us the opportunity to showcase the incredible talent of the young generation of Chinese actors, especially these two women,” Qu says. “They really need to be seen, and I hope they can have international careers.”
At its screening, the film struck a deep emotional chord with its audience, with Qu noting, “I could hear people laughing and weeping.” The delicate balance between humor and pathos was a result of Qu’s intentional crafting of the film’s rhythm, moving organically between memory and reality.
With its March 8 release in China, coinciding with International Women’s Day, Girls on Wire offers a fresh perspective on female-driven stories in Chinese cinema. “Young female audiences in China want to see films about women,” Qu observes, particularly noting how recent Lunar New Year blockbusters were predominantly male-led. “They want to connect to other female characters, and they want to find solutions to their own problems.”
Despite the limited space for independent cinema in China, Qu remains optimistic, citing the growing demand for high-quality, serious films. “More and more people want to see fresh, interesting films,” she says.
Qu is already working on several new projects that continue her exploration of Chinese history and contemporary social issues. Girls on Wire is produced by L’Avventura Films and J.Q. Spring Pictures, with Films Boutique handling world sales. After its premiere in Berlin and its upcoming Chinese release, the film is expected to continue its festival run internationally.
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