Chinese actress Fan Bingbing has made a striking return to the film scene at the Tokyo International Film Festival, where she is competing with her latest film, Mother Bhumi. Fifteen years after winning the Best Actress award for Buddha Mountain in 2010, Fan’s portrayal of a single mother and spiritual healer in a rural Malaysian village has garnered significant acclaim.
In Mother Bhumi, directed by Chong Keat Aun, Fan delivers a raw performance that showcases her ability to take on challenging and complex roles. The film explores themes of colonial legacy, ethnic tensions, land rights, and spirituality, all set against the visually stunning backdrop of the Bujang Valley. Critically noted for its cinematography by Leung Ming-kai, the film intertwines personal drama with broader societal issues.
Once regarded as China’s highest-paid actress, Fan enjoyed international fame with films such as I Am Not Madame Bovary, The White Haired Witch of Lunar Kingdom, and Hollywood productions like Iron Man 3 and X-Men: Days of Future Past. However, her career faced a steep decline due to tax evasion allegations in the late 2010s, resulting in fines that reportedly exceeded $100 million. Following a five-year hiatus from the screen, Fan is re-establishing her career with international projects, including her compelling role in Mother Bhumi.
During an interview with The Hollywood Reporter at the festival, Fan spoke candidly about her preparation for the role. She revealed that she was drawn to the character’s complexity, stating, “A woman who’s a farmer by day and a spirit-medium by night: it’s such a fascinating, complex character.”
To prepare, Fan immersed herself in the local culture, learning various dialects and farming techniques. She described her language training as intensive, stating, “It was like learning English from scratch when you only know Chinese.” She practiced daily with recordings from the director and even lived with local farmers to gain firsthand experience of the agricultural lifestyle.
Fan’s portrayal also included elements of shamanism, influenced by the director’s father, a well-known healer. “I videoed him and then studied from the video—his speech, his chants, his breathing,” she explained. This in-depth preparation contributed to her ability to authentically embody the character’s spiritual practices.
Reflecting on her five-year absence from the industry, Fan expressed gratitude for the time away, recognizing it as an opportunity for growth. “Those five years became a time to pause and absorb,” she shared. “I came to understand life more deeply—the difficulties and things that are hard to attain.”
Despite her international collaborations, Fan noted that Chinese cinema currently lacks diversity, which poses challenges for filmmakers. She expressed concern over declining box office numbers, indicating a shift in audience preferences toward short online dramas rather than feature films. “If I make another Chinese film, I want it to be one where I truly feel something for the character,” she stated.
Fan’s dedication to her craft and her experiences during her hiatus have shaped her artistic vision. As she continues to explore diverse roles, she remains committed to telling stories that resonate with audiences, particularly those centered on women’s experiences and struggles.
As she moves forward, Fan Bingbing’s performance in Mother Bhumi marks not only a significant milestone in her career but also a testament to her resilience and adaptability in the evolving landscape of global cinema.
