Saturday Fiction

Set against the grim tableau of 1941 Shanghai, Saturday Fiction is an intricate espionage thriller stuffed with multilayers of political intrigue, personal conflicts, and a deceptively serene facade of Japanese occupation. Directed by the celebrated Chinese filmmaker, Lou Ye, the movie illuminates a lesser-explored historical period in World War II, and was selected for competition at the 76th Venice International Film Festival in 2019.

The film features the brilliant performance of Gong Li, one of China’s most revered actresses, who gives a bravura performance as the theatrical actress and spy Yu Jin, adding a layer of sultry suspense and duplicitous glamour to the narrative. Mark Chao, a leading Taiwanese actor and Pascal Greggory, a French actor known for his role in La Vie en Rose, also shine in their respective roles, offering standout performances and enhancing the film's international appeal.

Saturday Fiction is a uniquely intriguing character study of Yu Jin, who, after years in Europe, triumphantly returns to the city of Shanghai to perform in the play 'Saturday Fiction' written by her estranged lover, played by Pascal Greggory. As the audience, we are surreptitiously guided into a world of espionage, as Yu Jin collects intelligence for the Allies while negotiating the occupational politics of the Japanese in China. It is through her eyes that we are shown the breathtakingly beautiful, yet hauntingly grim, Japanese-occupied Shanghai, with its international concession, bustling economy, and the menacing shadow of war.

In Saturday Fiction, the dynamics of personal relationships are meticulously portrayed, riddled with the complexity of love, lust, and loyalty. Yu Jin's tumultuous love affair with her old flame who happens to be a politically-charged playwright, and her mysterious relationship with the resolute and upright Mark Chao's character, conceals a broader narrative of betrayal and human resilience.

The film masterfully intertwines the narrative of the play, the political machinations of the time, and Yu Jin’s personal story. It sheds light on a significant historical period but does not dwell too heavily on facts instead the screenplay, written by Ma Yingli, presents a beautiful blend of historical events with character-driven drama which focuses less on the war itself, but more on those affected behind the scenes. It showcases the survivalist mood of the time and captures the tension of living on the precipice of chaos, under the shadow of imminent war.

The cinematography of Saturday Fiction works wonderfully to elevate the film’s gloomy portrayal of war, creating an atmospheric visual canvas that mirrors the narrative’s chilling undercurrents. The black and white palate used in the film enhances the noir aesthetics and heightens the melancholy sense of unease of a city under siege.

Furthermore, the film raises the notions of truth and illusion - an underlying metaphor that is intriguingly played out through the characters of Yu Jin, who constantly shifts between her roles as a stage actress, an ex-lover, a woman in search of her past, and a spy. This exploration blurs the line between performance and reality, leaving the audience guessing about Yu Jin’s real identity and her calculated alliances.

Rich with historical significance, loaded with cryptic suspense, and sprinkled with romantic drama, Saturday Fiction builds on the universal theme of the pursuit of freedom in times of oppression. It offers a vivid portray of a significant slice of Chinese history, whilst centering around human nature, personal motives, and hidden agendas.

In conclusion, Saturday Fiction emerges as an intricately layered political espionage drama set against the backdrop of war-torn Shanghai. Gong Li's arresting performance, combined with exciting plot turns, atmospheric cinematography, personas steeped in mystery, and a mesmerizing historical context, contribute to making the film a captivating cinematic experience for anyone with a penchant for spy thrillers or historical film.