Bai Xue was born in China and obtained her MFA from the Beijing Film Academy. After competing in the CFDG China Youth Film Director Support Program, she made “The Crossing,” her first feature.
“The Crossing” will begin screening at the 2018 Toronto International Film Festival on September 9.
W&H: Describe the film for us in your own words.
BX: “The Crossing” is a story of a young girl who crosses the border between mainland China and Hong Kong for her high school education every day. However, it is not just a story about youth, but a deep cultural phenomenon in the 1990s. At the time, Hong Kong was already a bustling metropolis, while its neighbor Shenzhen made do with the produce of the sea and was a simple city — they were two completely different worlds. It was a time that birthed generational identity issues, especially for those who migrated between the two states constantly.
This film explores these misplaced people: those who had ties to both but felt that they belonged in neither. The main character, a girl named Peipei, feels this dichotomy keenly, as she has a family and home but no friends in Shenzhen, while she has friends and her studies but no home in Hong Kong. She is not alone in these feelings — all immigrants and expatriates feel this way.
For us, the film is not about breaking new ground in the film industry but is about telling a story that should be told. All parts of this film were made through the unique perspectives of young, talented artists. The audiovisual language of this film is meant to speak to all people. I hope that all audiences will describe this film as genuine and chic.
W&H: What drew you to this story?
BX: In 2015, I made the decision to write a story about the “cross-boundary children,” those who have to commute between Shenzhen and Hong Kong every day. In order to better understand their daily lives, I made countless commutes between these two cities, took 30,000 words of notes from interviews, and took hundreds of photos and videos as part of my filmmaking approach. I did this because I firmly believe having a strong foundation in reality is the key to the success of a film.
During this process, I found many stories that touched me. Through a friend’s introduction, I happened to meet several girls whose fathers were from Hong Kong and their mothers the mainland. They sincerely opened their hearts and shared their lives with me. Although they were young and appeared happy, their eyes were a bit shuttered and their hearts slightly heavy. Their dual lives had led them to even have buried resentments toward their parents.
Hearing these burdens made my own heart uneasy. This was the driving force behind my desire to make a film about them.
W&H: What do you want people to think about when they are leaving the theater?
BX: I would like for the audience to have the same empathy for Peipei as I did. She faces such hardships and loneliness even as she looks to the future. Though Peipei is just an ordinary girl, she displays an extraordinary courage that I greatly admire. Despite her uneasy experiences, Peipei grows, and her heart becomes even stronger.
Peipei doesn’t just represent one culture or story, but all of us and our stories. We all come from different cultures and were shaped throughout our lives by them. We each have our own unique memories from our youth. I would like audiences to remember their own youth and feel a sense of nostalgia.
There is no rhyme or reason for what happens to Peipei, but I want audiences to feel that despite our circumstances, there is always hope. There is a way.
W&H: What was the biggest challenge in making this film?
BX: The biggest challenge was shooting in both Hong Kong and Shenzhen. Most of the crew consisted of my college mates and some professionals from Hong Kong. As we had planned down to the most minute detail in advance, shooting thankfully went fairly smoothly.
Even though there were a few hiccups every now and then, in general, working with such a dynamic crew made it an enjoyable experience. Everybody actively participated in the creation of this film. It was an amazing experience and made me even more certain than ever about choosing filmmaking as a career.
W&H: How did you get your film funded? Share some insights into how you got the film made.
BX: I submitted my script to the second CFDG China Youth Film Director Support Program and came in the top five. It’s a program specifically for young directors who are mentored by top professionals. Through this platform, emerging directors have access to the top film companies in China. That’s how I found a way to work with Wanda Pictures, who funded my film. This collaboration led us to where we are today.
W&H: What inspired you to become a filmmaker?
BX: I started watching films in my senior year of high school and fell in love with the medium right away. At the time, being a director seemed like an almost impossible dream.
In 2003, I was admitted to Beijing Film Academy and started my four-year education as a director, graduating in 2007. I don’t think being a young director is easy in any country, so perhaps it’s not surprising that it took me ten years to find inspiration for this film.
In the meantime, I got married, gave birth to my son, and have worked at maintaining a happy family, though I never stopped filmmaking. I have to admit that the support and love of my husband and child changed my perspective on life and reshaped the way that I look at people. It enabled me to see Peipei’s story and inspired me to share it. I confess that after such a long time, completing my first film was very emotional.
W&H: What is the best and the worst advice you’ve received?
BX: The best and worst advice I received was from director Tian Zhuangzhuang, who said, “You’re in charge of making your own decisions.” He is my executive producer who also happened to be my professor during my college years. He was there with me from the very beginning, guiding me as I wrote the script, found an investment company, and started shooting. At the time, I did not understand his advice. It wasn’t until I had finished shooting and started editing that I could tell him that I finally understood.
He is an executive producer that any director would dream of: one who respects my decisions and protects my directing style. He always wanted me to be an independent filmmaker instead of following other, simpler paths. He always told me that this was my film, so I had the final say.
After shooting this film, I became much a much firmer, determined, independent director. A director should be responsible for all of the decisions they make and have the grit to see them through.
W&H: What advice do you have for other female directors?
BX: As a female director, I encountered different challenges at different points in my life. It’s important to find the balance between one’s personal life and career, but also essential to look at one’s life for inspiration. Things that occur to you could become fascinating scenarios in your next film. I like to keep it positive when it comes to life and filmmaking.
Don’t give up on your dreams in becoming a director. There is always hope, and there is always a way. Try as much as you can to live your life to the fullest, and embrace everything that life hands you.
W&H: Name your favorite woman-directed film and why.
BX: My favorite woman director is Ann Hui. I particularly enjoyed her movie “Summer Snow.” She has the magic ability to use her cinematic voice to illustrate the most extraordinary stories from the most ordinary lives. All of her films have extremely intense emotions which are very appealing to the audience. I believe this comes from her perspectives toward life and people. Those are what make a great director — it’s not just about technique.
W&H: Hollywood and the global film industry are in the midst of undergoing a major transformation. What differences have you noticed since the #MeToo and #TimesUp movements launched?
BX: I think women should have more courage and strength to step up to protect themselves. This is easy to say but hard to do, especially when others sit in much more powerful roles than we do. We have already witnessed in recent years more female filmmakers emerging and more films focused on women. I firmly believe that raising public awareness could help to create better working environments for female filmmakers worldwide.
