Pandemic-Era Longing to Gather Fed Qiu Jiongjiong’s Tokyo Competition Title ‘Fuxi: Four Tales of Feasting’

Chinese artist and filmmaker Qiu Jiongjiong premiered his latest feature, "Fuxi: Four Tales of Feasting," at the Tokyo International Film Festival, offering a cinematic reflection on the universal human experience of gathering around food. Developed during the global pause caused by the COVID-19 pandemic, the film stems from a collective yearning to reconnect with others through shared meals.

"Fuxi" unfolds as a quartet of narrative episodes spanning diverse historical moments, each anchored by a distinctive communal dining event. By weaving these vignettes together, Qiu explores how food rituals transcend time, embodying themes of life, death, and cultural continuity. The film’s title, referring to the ancient Chinese term "Fuxi," evokes both the delight of eating and the act itself, framing the work’s central motif.

A notable feature of the film is its linguistic authenticity; the entire dialogue is delivered in the Leshan dialect native to Sichuan province. This choice enhances the film’s regional texture but posed a challenge for the cast. Taiwanese actor Lee Kang-sheng, known for his collaborations with director Tsai Ming-liang, undertakes the rare task of portraying two elderly female characters from different eras, including a prehistoric grandmother. Lee required specialized coaching to master the dialect, highlighting his commitment to embodying complex roles.

Another principal performer, Taiwanese actor Lee Hong-chi, assumes the role of the Song dynasty poet Su Dongpo. Like Lee Kang-sheng, he engaged in dialect training to meet the film’s linguistic demands. Lee Hong-chi was initially unaware of the historical significance of his character until receiving the script, and he was drawn to Qiu’s distinctive visual storytelling and nonrealistic aesthetic.

Unlike Qiu’s earlier solo-driven feature "A New Old Play," which focused on personal history, "Fuxi" adopts a broader narrative scope, connecting four epochs through the shared human ritual of feasting. Each chapter contemplates existential questions through the symbolism of meals, seeking to relate intimate human experiences to cosmic cycles such as the movement of the sun and moon. This approach reflects Qiu’s expanded artistic ambitions following his first collaboration with professional actors.

Parallel to the film’s release, Qiu is presenting a solo exhibition at Chengdu’s A4 Art Museum entitled "Qiu Jiongjiong: Fuxi: A Feast for the Universe." Running through the end of January, the show features paintings, video installations, and sculptural works centered on Sichuan-style banquets. It further investigates local cultural practices and philosophical views on mortality, complementing the themes explored cinematically in "Fuxi."

As Qiu continues to develop new projects, his recent cinematic interests include Christopher Nolan’s "The Odyssey," which fascinates him for its historical reconstruction and visual style. Meanwhile, Lee Kang-sheng has broadened his own horizons, completing work on an Argentine science-fiction film and expressing openness to diverse roles, including action genres that diverge from his established screen persona.

The collaborative synergy between Qiu and his cast, the film’s linguistic specificity, and its thematic engagement with time and communal rituals mark "Fuxi: Four Tales of Feasting" as a contemplative addition to contemporary Chinese cinema. Its reception at Tokyo signals the international resonance of stories rooted in regional culture yet addressing universal human experiences.

Details about the film’s wider release and future projects from Qiu remain limited.