A Quietly Powerful Film: “Twenty Two” and the Unfolding History of Comfort Women
What image comes to mind when you hear the term “comfort women”? Is it a scene of hysterical anger, unfathomable sorrow, or a desperate cry for help? These are often the stereotypical images, or even self-constructed scenarios, that many people conjure. The historical facts and current living conditions of these women remain largely unknown.
However, the number of surviving comfort women is dwindling. These elderly women, who endured immense suffering, are passing away. On August 12th, Huang Youliang, a survivor from Hainan and the last comfort woman in mainland China to sue the Japanese government, passed away at her home. Now, only eight survivors remain. As one user on Douban, a Chinese social networking site, put it, “They are leaving too quickly, and we are running out of time.”
The Rise of “Twenty Two”
Initially a niche film from a commercial perspective, “Twenty Two” has become a viral sensation, challenging Chinese documentary box office records. Released on World Comfort Women Memorial Day, the film initially faced limited screenings. However, thanks to the collective efforts of media outlets, celebrities, and online users, the number of screenings has steadily increased, reflecting Chinese society’s evolving attitude towards this part of its national history. (People’s Daily Overseas Edition, August 18th)
“Twenty Two,” the first Chinese documentary about comfort women to receive public release approval, offers an objective, restrained, and gentle perspective. In a strict sense, it is not an “entertaining” film. It lacks dramatic conflicts, a clearly defined narrative structure, or distinct character portrayals. Instead, it presents fragmented, authentic records of the elderly women’s daily lives: rural landscapes from across the country, the changing clouds, the sounds of chickens and ducks. They live as ordinary grandmothers, in a very real way.
The Power of Authenticity
Authenticity possesses immense power, and tranquility can deeply resonate with the human heart. Despite the seemingly mundane daily recordings, emotions subtly emerge. When the elderly women choke up while recalling their past, saying “I can’t talk about it anymore,” “I don’t feel well,” or “I don’t want to talk about it,” we can still sense their profound pain and suffering, and we are moved to tears. These women embody a magnificent image of femininity: generous, resilient, and kind. Like flowing water, they settle the stones of pain, dissolve the noise of controversy, and move forward peacefully towards a new life.
Looking Back to Move Forward
Looking back at history allows us to move towards a better future. We are grateful for the film’s restraint and its use of negative space, which allows us to gaze gently upon these grandmothers and provides us with more room for reflection. As Grandma Wei Shaolan said, “This world is so wonderful; I must keep this life to see it, even if I have to eat wild things.” Indeed, living is a more profound proposition than hatred. We sincerely hope that they will live with more respect and care in the future, and that everyone will cherish the peace we have today.