War Epic 'Nanjing Photo Studio' Reignites National Identity Debate and Sparks Anti-Japanese Sentiment
In a remarkable turn of events, the recently released Chinese film "Nanjing Photo Studio" has not only captivated audiences with its poignant storytelling but also reignited discussions on historical memory, national identity, and international relations, especially between China and Japan. This cinematic portrayal of ordinary people's lives in Nanjing during the 1937 Japanese invasion goes beyond mere survival narratives to explore the deeper implications of war atrocities and their documentation.
28 July 2025
The film, slated for release on August 2nd, has already made waves across China, with roadshow screenings in cities like Shanghai evoking intense emotional reactions from attendees, many of whom were seen crying during the screenings. The presence of the film's cast, including notable actors Liu Haoran, Wang Chuanjun, Gao Ye, and Yang En-you, alongside director Shen Ao, added to the events' poignancy.
A key moment during the production involved burning down a replica of the photo studio set, an act that left a profound impact on the cast, especially Liu Haoran, who recounted the immersive experience of seeing the place he had worked in being destroyed for the sake of cinematic authenticity.
Director Shen Ao's insights into the film's approach to portraying 'traitors' as individuals driven by opportunism rather than conviction or national loyalty sparked a nuanced discussion on patriotism and personal integrity. This aspect of the film has resonated with viewers, prompting reflections on contemporary parallels.
The public and international response to "Nanjing Photo Studio" has been significant, with a surge in anti-Japanese sentiment expressed on platforms like Weibo. Comments such as "I can never forgive Japan on behalf of my ancestors" underscore the film's role in reopening historical wounds. Japanese media's coverage of the film, highlighting concerns over rising anti-Japanese sentiment, and the subsequent denial or distortion of the Nanjing Massacre in Japanese online forums, reveal a disconcerting gap in historical understanding between the two nations.
The film's impact extends beyond geopolitical discourse, affecting individuals on a personal level, such as the young boy who chose to destroy his cherished Japanese manga cards after watching the movie, illustrating the profound shift in perspectives it has inspired.
"Dead To Rights," the English title for "Nanjing Photo Studio," is not only a significant cultural event in China but also a catalyst for broader discussions on the representation of historical events in cinema and the ongoing struggle for acknowledgment of past atrocities.
The film's success, exceeding 500 million yuan at the box office, its anticipated release in Hong Kong, and its high rating of 8.6, underscore its critical and commercial triumph. The involvement of key industry figures, including Chief Producer Fu Ruoqing, further highlights the film's significance in both cinematic and societal landscapes.
As "Nanjing Photo Studio" continues to provoke dialogue on the complexities of historical interpretation and national identity, its legacy will undoubtedly extend far beyond the cinema, offering a poignant reminder of the lasting impact of war and the enduring quest for justice and recognition.
