Ma Xue's first feature film, The River of Senses follows a woman confined to her apartment near Beijing, exploring her sexuality while a mysterious neighbor observes her through a hole in the wall. In a poetic setting, the film mixes eroticism and reflection on desire. Meeting with the director.
To see this Wednesday at the cinema, The River of the Senses follows a woman in her thirties confined to her apartment in a dormitory town near Beijing. Illness lurks, so does boredom. The loudspeakers prohibit her from going out, so in her apartment she explores her sexuality while a mysterious neighbor watches her through a hole in the wall. The film weaves an enigmatic narrative around four characters: two women (one of whom, younger, speaking English, could be the double of the main protagonist) and two men (her husband and her lover). In a contemplative atmosphere where dialogue is rare, replaced by metaphorical voice-overs in Chinese and English, the film develops a reflection on desire, confinement and liberation.
What was your background before making this film?
After my studies in China, I went to Korea to specialize in communications. I worked for KBS before pursuing a doctorate in theater and cinema, again in Korea. This training allowed me to deepen certain theoretical aspects. I then worked as a producer on commercial cinema projects in China, before moving into directing in 2020.
Your film is located between China and Korea. How would you define it: a Chinese or Korean film?
I consider myself a Chinese director, having been born in China. The River of the Senses is filmed in Chinese with Chinese actors, but its production is handled by a Korean company. For me, it's simply an international film. When they are German, French or Italian, we do not systematically try to label European co-productions, so why do it for Asian films?
How did you approach the erotic dimension of the film?
I don't have much experience watching erotic films, which may be why my erotic scenes are perceived as different. For me, they were as natural as a meal scene or a walking scene. With my team, the word “eroticism” was never mentioned in meetings. It was as essential and natural as drinking or eating.
Perhaps because the real subject of the film would be desire…
Exactly. The story follows an ordinary woman whose inner strength gradually grows, revealing her desire. It is not a starting point but an arrival point, the result of self-exploration. The heroine gradually abandons society, family ties and the world around her to find herself. The film reflects on how human beings, despite their insignificance in the face of the universe, can become incredibly strong.
What was your aesthetic approach?
I look for beauty in my images. Sexuality and eroticism can become a form of cinematic art, without necessarily being dark or vulgar, even when the relationships between characters are complex.
Why did you include a portrait of Catherine II by Georges Desmarées who plays an astonishing role in the film?
It’s a nod to this fascinating historical figure. Placing his portrait in the home of an ordinary Chinese couple creates an interesting shift. Through her gaze, we suggest the possible immensity of a woman's universe, even in a seemingly limited context.
Humor occupies a surprising place in the film…
Indeed, I like to play with symbols in a light way, like with the portrait of Catherine II. Humor is essential in my film, it balances the more dramatic aspects of the story.
Did the French New Wave influence you?
I would rather talk about creative convergence. It was while finishing the film and listening to the reviews that I realized these similarities with certain great predecessors. The New Wave filmmakers, particularly Bresson and Rohmer, are like artistic friends that I meet after their death.
What are your future plans?
I have already written a few feature film scripts. I am open to the idea of working with foreign actors, particularly French. My new characters are not necessarily designed for Chinese actors, which opens the way to more international films.
Official synopsis: During China's epidemic lockdown, many people not only changed their lifestyles, but also opened the doors to desire and self-exploration. Yang Fan lives in Yanjiao, a city separated from Beijing by the “white river”. Her routine of household chores and respecting health rules is turned upside down when she finds herself drawn into an erotic network involving her husband and a mysterious young waiter.
The River of the Senses releases Wednesday January 15 in theaters.
