A Cinematic Odyssey

Odyssey: A Chinese Cinema Season is the UK’s most expansive annual celebration of Chinese film—and one of the largest of its kind globally. Yet, it remains relatively unknown to many international audiences. Beyond the celebrated works of legendary director Zhang Yimou, contemporary Chinese cinema receives little exposure outside its homeland. That’s why the return of this vibrant festival is always a welcome delight. This year’s programme features a carefully curated selection of films, including some of my personal favourites.

The Sparring Partner, directed by Ho Cheuk-Tin, is a strange yet compelling crime drama that explores the aftermath of a particularly brutal double murder—that of a middle-class Chinese couple. What makes the case especially disturbing is the chief suspect: their estranged son. While his guilt is never truly in question, the film delves into the murky motivations behind the crime—not only his, but also those of the young man who aided him.

Is this co-conspirator truly the naïve, easily manipulated individual with learning difficulties he claims to be? Or is there something far more sinister lurking beneath the surface? That is the central question the film probes, offering a gripping psychological portrait of two young men—and the violent act that binds them.

Midway through, the film undergoes a striking transformation. What begins as a taut and unsettling crime drama evolves into a courtroom thriller reminiscent of Twelve Angry Men, set against the backdrop of the Chinese legal system. As the jury deliberates, the film becomes a forensic and philosophical exploration of justice, truth, and moral ambiguity.

Another standout feature at the festival is Butterfly, a lyrical and introspective film by Yan-Yan Mak. The story follows a married woman and new mother whose life is upended when she meets a young female student who openly declares her love for her. This encounter sparks a deep reflection on her past—specifically, a passionate same-sex romance from her youth, one she abandoned under the weight of societal expectations.

Butterfly poignantly explores the emotional toll of repression, shedding light on the compromises that many in the Asian queer community have historically been forced to make. It also captures the personal struggle of coming out later in life, after years spent in silence. At the same time, the film is a testament to the artistic strength of Hong Kong cinema. Whether a film like Butterfly could be made in today’s sociopolitical climate—either in Hong Kong or mainland China—is a question the film quietly but powerfully raises.

Two standout shorts from this year’s programme include the poignant Photoshop on the Corner, a British-Chinese co-production that offers a moving portrait of dementia’s impact on an elderly woman’s life. The woman runs a traditional photographic shop, and the film begins with the arrival of her granddaughter, who has come to deliver devastating news: the death of her mother.

What the granddaughter doesn’t realise is that her grandmother is now in the advanced stages of Alzheimer’s. She no longer recognises her granddaughter, nor does she show any reaction to the news—she simply cannot remember her own daughter. The film delicately explores a painful question: how can the granddaughter reach through the fog of confusion that now comforts and isolates her grandmother?

The solution she finds—quietly magical and deeply human—forms the emotional heart of the film and leaves a lasting impression.

To call the premise of Happily Ever After unusual would be an understatement. Directed by Lau Wing Man, the film follows a middle-aged male photographer whose growing fascination with pole dancing leads him to take up the activity himself. His decision leaves his long-suffering wife bewildered and frustrated—at least at first.

However, as she witnesses the unexpected joy and renewed sense of purpose it brings him, her resistance begins to soften. What emerges is a quietly touching story about self-discovery, acceptance, and the power of personal transformation.

Happily Ever After suggests that it’s never too late to pursue your passion—no matter how unconventional or frowned upon it might be. The film is both humorous and heartfelt, offering a fresh perspective on gender roles, aging, and the freedom to redefine oneself at any stage of life.