What’s in the Darkness (Hei chu you shen me)

Qu Jing is just looking for some clues.

Qu Jing is just looking for some clues.

(2016) Drama (HH Pictures) Su Xiaotong, Guo Xiao, Liu Dan, Lu Qiwei, Zhou Kui, Jiang Xueming, Li Shiru, Wu Juejin, Ren Long, Liu Jieyi, Gu Qilin, Li Mei, Jia Zhigang, Deng Gang, Wang Zhengping, Jiu Qi, Han Yuye, Tian Feng, Luo Wei, Shi Ying, Yan Jia, Ma Chenxiang, Yu Zhengnan, Huang Xiaoya, Wu Yue, Du Gangqiang, Liu Kaiming, Huang Yan, Xia Hongxia. Directed by Yichun Wang

NYAFF

Growing up is a dangerous, frightening thing. It’s a struggle, dealing with all the hormones coursing through your body, trying to understand the world around you as best you can without much help from your parents and other adult figures in your life, although they often mean well; they just don’t get what you’re going through and in any case, they never have anything good to say about you – it’s all just complain, complain, complain and nothing you do is ever right. Lucky for you, they don’t have time for anyone but themselves and frankly, you want to keep it that way.

Qu Jing (Xiaotong) feels exactly that way. She’s a pre-pubescent girl in a Chinese mainland technical high school in the Hubei province in 1991. In the late spring, the nude body of a woman is found in the local lake. She’d been raped and murdered, and a crude cross carved into her thigh. Qu Jing’s dad, Qu Zhicheng (Xiao) is a police officer, one who happens to have been trained in forensic medicine. He’s the butt of jokes to his peers and a source for exasperation to his commanding officer, Chief Cao (Shiru). He prefers to use deductive reasoning and follow clues while his fellows prefer choosing suspects pretty much at random and beating confessions out of them. It keeps the rate of conviction impressively high.

When a second victim is found, pressure is put on the cops to solve the case and they haul in a suspect (Gang) and get him to confess to the crime. Qu Zhicheng is skeptical about the accuracy of their investigation; the discovery of another victim, killed while the suspect is in police custody, proves him right.

Qu Jing is having problems of her own. Her mother (Dan) is a shrill shrew, unhappy in her marriage and her life and taking out all her issues on her family. Zhang Xue (Qiwei) is Jing’s best friend but Xue’s not the nicest person ever; she is condescending to the point of arrogance, knowing that her beauty and sexuality will take her far – far out of town, which is what she wants to be (as far as the more tropical Hanmei resorts if she has her way). Xue is sexually active and has attracted the attention of Zhao Fei (Xueming), a local tough guy and petty criminal.

Qu Jing is beginning to have hormonal shifts that are causing her to think about sex. She asks questions like ‘”Does giving birth hurt?” and reads clinical manuals, trying to find out everything she can. She goes to romance movies and watches the love scenes with great interest. When Xue disappears after being thrown out of class for falling asleep, the murders begin to come frighteningly close to home.

I originally listed this as a suspense film but changed my mind; it’s not a mystery. It’s more of a drama. This isn’t a police procedural. The crimes here hang on the periphery, coloring the proceedings but never dominating them. Yichun wrote this as largely autobiographical. Part of that is why this is set in the era that it is, and the era this takes place in is critical to why this movie exists.

China was on the verge of changing its economic structure from pure communism to a blend of communism and capitalism which it employs today. While the rural areas, such as the one this was set in, still carried over many of the same restrictive policies that existed for the past decades, change was in the air.

The performances here are interesting. Xiaotong is a real find; 17 years old when she made this, she shows a great deal of emotional depth, from playful to petulant, sullen to joyful.  She epitomizes the confusion and pain of growing up, particularly in a household where she’s largely reminded at how much it cost the family to even bring her in to this world. She was the second child in an era when families that had more than one child suffered heavy economic penalties for it; her older brother, away at university, doesn’t appear other than as a reference in the film.

Guo Xiao also does an outstanding job as the somewhat nebbish police officer, adrift in a sea of incompetent goons. He lashes out at his daughter, henpecked by his wife and laughed at by his fellow officers. Deep down however he loves his daughter as only a devoted father can. He shows it in between bouts of screaming at her for her transgressions, real or imagined.

The dynamic here is a lot different than what we’re used to from Western films. The police are not only as fallible as all get out, they’re also clods who do little constructive to protect or serve. Fathers and mothers aren’t supportive and wise; they have their own hang-ups and issues and don’t necessarily have their children’s best interests at heart at all times.

The society they live in is repressive and prudish but something darker lurks beneath the surface at all time. All around Qu Jing and Xu there are men leering lecherously; an old man in a senior home makes a pass at young Qu Jing in a particularly loathsome manner. The message here seems to be that while some things can be repressed on a societal level, that doesn’t mean those urges aren’t still there.

The senior home sequence and others like it might be off-putting for some who may be a little queasy at the sexualizing of prepubescent and pubescent girls, who are often made to wear make-up for choir performances and school functions.

This doesn’t have the kind of pace you’d find in a typical mystery. There are no gun battles, no car chases, no fistfights. The ending is abrupt and disconcerting. We don’t get much detail on what the police are doing to solve the crime (other than picking up the wrong people and forcing them to confess). We get a sense that after the film ends, things aren’t going to change much.

When all is said and done, this is more of a slice of life type of film; this particular slice happens to have a serial killer in it. It’s like getting a slice of mincemeat pie and biting into a clove. It’s just the luck of the draw. However, this is a tasty slice of pie from someone you can tell is going to only get better at baking pies. I can’t wait to see what comes next from Yichun’s oven.

REASONS TO GO: Unsettling atmosphere keeps viewers from getting too comfortable. Interesting portrait of a period in China less familiar to the West.
REASONS TO STAY: Sexualizing of young girls is a bit off-putting. Too slow-paced for most American audiences.
FAMILY VALUES: Sexual content, some foul language and a disturbing image or two.
TRIVIAL PURSUIT: Qu Jing is the same age as director Yichun would have been in 1991.
CRITICAL MASS: As of 6/29/16: Rotten Tomatoes: No score yet. Metacritic: No score yet.
COMPARISON SHOPPING: Diary of a Serial Killer
FINAL RATING: 6.5/10
NEXT: Buddymoon

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