Wang Tong taps into shared global concerns over an aging population in his feature debut Wild Nights, Tamed Beasts — but the filmmaker also showcases just how far contemporary Chinese filmmakers are willing to push the boundaries of genre.
The film is part-thriller, part-twisted romance, part-dark, social commentary-driven drama, with the distinctive fringe-of-society shadows that have come with the advent of “China noir.” Above all, Wild Nights, Tamed Beasts is thoroughly entertaining, and it sets an ambitious bar early in this year’s Golden Goblet competition at the 27th Shanghai International Film Festival.
Wan Qian (star of God of War and The Wild Goose Lake) plays a caretaker/dark angel tasked with looking after a series of elderly folk nearing death. Rao Xiaozhi (director of the actioner Home Coming) plays a zookeeper drawn into her orbit — and maybe even into her heart — when tasked with overseeing the care of his own ailing father. And Wang plays with his audience’s perceptions of what is actually going on in and around the pair with the aid of ambitious stylistic flourishes that include roving cameras, split screens, and an ongoing dance between what’s real and what’s imagined.
“With this film I used a realistic approach but I also wanted to bring in a sense of romanticism,” the director explains. “The fact that such a story can even be told and shown, I think, is already a kind of honest response to our society and the times we live in.”
He adds: “I hope my films are grounded in reality in that the stories grow out of real-life experiences, and the characters feel truly alive, with emotions and depth. What matters to me is that the audience doesn’t just watch someone else’s story from a distance; I want them to feel something, to reflect, to see part of themselves in it.”
‘Wild Nights, Tamed Beasts’
Courtesy of the Shanghai International Film Festival
Wang graduated from Beijing’s Communication University of China with bachelor’s and master’s degrees in directing. He first drew attention with his acclaimed short Time to Die (2015), later being named one of the top five emerging filmmakers by the CFDG Young Director Support Program in 2020.
The director drew heavily from his own upbringing, having been raised by elderly relatives.
“Over the years I’ve had many conversations with them,” he says, “and gradually the core of this film took shape. My first short film, Time to Die, also explored themes rooted in reality and traditional culture. The experience of making that film gave me a foundation that further shaped my understanding of subjects like life, death and the elderly.”
“In today’s reality, elderly people often face loneliness, while the younger generation experiences a kind of helplessness,” he cotinues. “It’s a situation that speaks to all of us.”
Rao is a revelation in what is his first lead role as an actor. Wang says he was quick to lean on the more experienced filmmaker’s experience and advice behind the scenes, too.
“Through this project, I’ve come to feel that creation isn’t just personal,” he says. “It starts from a personal or shared emotional experience but it becomes a collective process. During the making of this film, our producers Rao Xiaozhi and Wan Qian were deeply involved. We had a lot of conversations throughout. So, in the end, what you see in the film is really a reflection of group feeling.”
International sales for Wild Nights, Tamed Beasts are being handled by Moebius Entertainment.
Wang cites filmmaker Michael Haneke as a significant influence, noting he intends to continue “exploring human nature.”
He says: “Telling stories that deal directly with social issues is definitely challenging, because real life can be harsh and complicated. But that’s also the power of art — it reflects something real. Through someone else’s story, you can actually see yourself, gain insight, start thinking and feeling more deeply.”
