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The authorities in China have banned a prizewinning film because nationalists and the manosphere “resented its portrayal of their country”, said The Economist.

The movie, “Her Heart Beats in its Cage”, is a prison drama based on real killing, centering on Zhao Xiaohong, who may be perceived as a “star in the making”, a “feminist icon”, a “murderer” or “part of a calculated deception”, said The Times.

Deeply conflicted 

Zhao killed her husband with a fruit knife during an argument that “spilt over into a violent altercation” about the wider division of domestic chores. A court found her guilty of intentional killing in 2009 and sentenced her to 15 years in prison.

She was preparing for release from jail when Xiaoyu Qin, a film director, “discovered” her. He visited her prison, and was surprised to find “marginalised individuals full of personality and complexity, intense clashes between notions of good and evil” and “deeply conflicted stories”, he told China Newsweek.

For the film, Qin blended documentary-style footage of Zhao’s time in jail, filmed with the approval of the government, with scripted performances by her and her family, including her husband’s relatives. Critics claimed that Qin had “lured” the grieving family into participating and “feigning forgiveness”, said The Economist.

When the film was shown last year at the San Sebastian Film Festival in Spain, it “caused an immediate stir” and “made headlines back home in China”, said The Times.

It was quickly criticised online for allegedly whitewashing a convicted killer. Some argued that the film was “condoning violence” and “rewarding a criminal”, while others “questioned whether she was a victim of domestic violence at all”, noting that the judge had “rejected” her claim of self-defence.

There were also “the usual claims” on China’s “highly nationalistic internet” that the movie depicted the country in a “bad light”, which is the “sort of issue” on which censors “tend to agree with popular opinion”.

The film’s release in China was hotly anticipated, but as controversy raged, it disappeared from schedules less than a fortnight before its release. No explanation was given.

Meanwhile, the film’s cast and crew are not responding to requests for interviews, so “even finding out their defence to the accusations and counter-accusations” aimed at the film has “become more and more difficult”, as reports and reviews are “ruthlessly scrubbed”. Zhao’s social media accounts have also been blocked, according to reports in state media.

Touchy nationalism 

Chinese “propaganda” is “full of distortion and deception”, said The Economist, but much of the reaction online “reflected a touchy nationalism”, claiming the film was a “Western plot to undermine party rule by spreading liberal, pro-feminist values”.

China is undergoing its own “version” of the “West’s culture wars”, said The Times, with feminists “calling out the patriarchy and sexual harassment”, while men, particularly young men, are “crying foul”.

But “more informed online debate” about the movie has focused on reforms to the justice system. The law has been altered to allow judges assessing a self-defence claim to take into account any previous history of domestic violence.