#romchat meta

[romchat]

In general, Sinners has great cinematography, but I think this tracking shot that follows Lisa Chow across the street from her parents’ Black storefront to their White storefront is one of my favorites:

Look at how it immediately establishes the rules of the movie's setting.

This is Jim Crow Mississippi where Black and White residents essentially live in different worlds. The continuous take forces us (the audience) to experience that segregation in real time as we walk behind Lisa crossing the street. There are no cuts or edits to interrupt the discomfort of having to witness all those visual reminders of racism against Black Americans.

I think it's also significant that it's Lisa, an Asian American woman, who the camera follows. As someone who exists outside the Black-White racial binary, she’s able to traverse these two worlds but the bright red of her shirt still demarcates her as a conspicuous outsider amidst all the blue and brown on both sides, representing the uniquely precarious position of Asians in the U.S.’s racial hierarchy.

[romchat]

And THIS ladies and gentlemen is why directors matter. A four minute scene had more tension and intimacy than actual bed scenes.

I've already waxed on about how much I love Director Zeng Qingjie's work and his use of the "feminine gaze" so I won't repeat myself too much but dammit the way he portrays desire (especially women’s desire) and does so this skillfully with barely a word of dialogue is unmatched.

Just look at the cinematography:

It's the architectural framing of the curtains and the soft backlighting to emphasize the intimacy of the characters being "alone" as husband and wife for the first time. It's the gradual tightening of each shot to capture the characters' growing physical awareness of one another. It's the play of power with her more physically dominant in the frame while he guides her movements verbally. It's the impressionistic use of a handheld camera and the fluid rack focus on the eyes to mimic the intoxication of their almost-but-not-quite kiss.

And don't forget Zeng's strategic insert of a close-up:

Look at how the lighting reveals the texture of the clothes she's taking off him! And the blanket he hugs to bring her closer! And the goosebumps that appear on his skin when she washes him! All that suggestive wetness.

(Side Note: Hilariously, Tumblr marked those particular images of the blanket and goosebumps as needing a content label so I had to remove them.)

There's a certain haziness to the scene but where they touch is still in focus--there's sensuality in the tactile.

Director Zeng, please make at least 1-2 romance dramas a year and show these other directors how it's done.

Please and thank you.

[romchat]

The consistent placement of halos around Victor Frankenstein as he narrates his woes is such a delicious bit of symbolism:

It really highlights the self-imposed martyrdom and lack of accountability in his unreliable narration.

[romchat]

Ok, everyone is talking about how pretty Pursuit of Jade is but can we take a moment to talk about how layered its visual storytelling is? Director Zeng Qingjie is doing a really good job using cinematography and mise-en-scène to establish the implicit class/power dynamics that will probably drive the romantic conflict between the main characters.

Despite their massive difference in status, Xie Zheng has found himself easily embedded in Fan Changyu's world. As @background-character-341 astutely describes:

"So so obsessed with the ways that Xie Zheng finds to insert himself within the already established dynamics of Fan Changyu's family and her life. It's the care and affection he shows for Changning...It's the interest he takes in her job, reassuring her that is doesn't scare or disgust him...It's the way the narrative constantly mirrors them, making Xie Zheng take his cues from her."

But not only has he inserted himself in her life, he's also anchored hers by providing a protective barrier that insulates her from and has mended the strained relationship she has with her neighbors. Hilariously, it's his good looks and pretty calligraphy--him as an individual--not his title and military prowess that does the job.

And we see that echoed in the evolution of the village's set design and actors' blocking.

Think back to earlier episodes whenever Granny Kang or Madam Song would harass Changyu and the neighbors would stay at the perimeter of the property observing but not seriously intervening. There was a literal barrier they never crossed because of her reputation. Now we see the adults (and all the children that originally would only peak in!) celebrating in the yard, the scene composed around him fulfilling husband duties.

And of course we can't ignore how the director frames and lights Changyu and Xie Zheng's scenes together.

The lighting is soft and warm, the frame often including the two of them plus Changning and her aunt and uncle. ⁠The use of medium and close-up shots for their relationship's camera language visually binds them together. They are a family unit--at least within the confines of Changyu's humble home.

The contrast with the capital is stark.

The immediate cut from Xie Zheng's lovely new year celebration with Changyu to the princess' at the palace made me laugh. Look at those moodier, colder colors and all the harsh leading lines, the composition placing a guard in the foreground. This is a completely different world for the elites, one that is calculating, high stakes, and promises violence.

It makes sense that Xie Zheng would do anything in his power to delay having to return to this because despite the respite Changyu's home provides he's fundamentally still one of them without her in the frame. When acting in his Marquis role, he too is filmed in darkness or shadow, the use of low-key lighting giving him a just as suspicious, ruthless air.

This is nothing like the drama's aforementioned visual language for Changyu--she doesn't belong in these scenes and therefore doesn't belong in Xie Zheng's world. There is no place for her kind, straightforward sincerity and the little community she cares for are pawns in the greater political environment.

Prediction: While he might resist because village life as a matrilocal scholar with his butcher wife was the one time he could escape the pain and violence of this world, I'm guessing she will be the one to sever their relationship once she learns of his real identity.

When they "break up", the drama's visual language will transform her beautifully lit scenes to something that more resembles his.

[romchat]

"This is where you found me and this is where you abandoned me."

Ok, I'm sneaking this post in between meetings but that's because I love being (partially?) right. With Ep. 17 we find our couple separated and how might you ask is that visually represented on screen?

After Fan Changyu leaves him, Xie Zheng is back in blue, no longer basking in the golden glow of the fire (and domestic life) he shared with her.

But I'm also frothing at the mouth from the double meaning in the symbolism here because while he might feel abandoned...

...that fire is still burning bright within her.

As we see from the next scene when they're gazing at each across the valley, Changyu clearly misses him and she only rejected his advances because of his let's say "aggressively" mixed messages.

Side Note: Love love love the symbolism of her only occupying one half of the marriage bed they would have shared together.

And of course all the close-up shots of objects that represent their time together like the family portrait and snowmen. (Changning's baby snowman, my heart!)

Every corner of the house reminds her of his absence, and when she realizes him giving her the arm guards as a gift is a figment of her imagination we see how large and empty the house is now that he's no longer besides her.

What a great use of an interior wide shot to emphasize the character's loneliness and unmet desires. The camera has lost its intimacy from previous episodes because her home no longer feels like a home without him.

So when Changyu is told that he's been conscripted, it makes sense that she immediately tries to chase him down to say goodbye and bring him supplies. (Imagine what someone like her must have traded in for that horse.)

Look at the Dutch angles and slow mo--she is distraught because she is still compelled to protect him at the first mention of danger no matter how angry and disappointed she might be in him.

[romchat]

The Terror's cinematography is absolutely breathtaking.

So many shots have compositions that look like they could be paintings in a museum exhibit on 19th Century Realism. Obsessed with the purposeful use of blocking to portray the class divide and the mundane but backbreaking labor of sailing.

Also, I love how, as a historical drama, it leans heavily into the camera language of sci-fi and horror to create this otherworldly and ominous feeling without having to be so on the nose. It's all about the light and framing--everything is stark or slightly offkilter like the glacial landscape slowly killing the characters.

Only two episodes in and this show might beat out even Severance when it comes to my favorite visual storytelling of 2025.

[romchat]

Ok last Pursuit of Jade thoughts for the night because unfortunately life but I want to praise director Zeng Qingjie and scriptwriter Zou Yue's ability to traumatize us WHILE ALSO offering pointed commentary on the corrosive nature of unfettered elite power. During Episodes 18-19, one of the ways they do this is by juxtaposing Qi Min and Yuan Qing's perverse notion of family with Fan Changyu's.

Something that this drama has done particularly well for a romance-focused story is portray the devastation war between elite factions has on common folks. It’s reflected in the food scarcity, local political corruption, pillaging, violence, etc. that Fan Changyu’s village and other similarly located ones face at the drop of a hat.

But despite this struggle, these people still find ways to support each other.

This is why those pillaging scenes hurt so much. In their final moments, many of these characters let go of old grudges and sacrificed themselves for others to have a chance at survival. Granny Kang, what an arc.

And we doubly feel the weight of each death because when Changyu discovers what happened, the camera does this absolutely gorgeous tracking shot (no seriously thank you for the cinema, Director Zeng) that slowly follows her as she sees each body and mourns them, giving us the audience time to grieve these lovely side characters alongside her.

But what is particularly poignant in this scene is that although it starts with Changyu isolated thinking she is the only one who made it as she observes the carnage around her, the scene ends with the remaining survivors greeting her, the warm village glow surrounding their group not yet extinguished.

They will rebuild their community in spite of it all.

(Side Note: For whatever reason, that beautiful scene where Changyu tiredly digs each person a grave reminded me a bit of Akira Kurosawa's famous grave scene in Seven Samurai. Actually, now that I think about it, several shots Zeng has used to film Changyu's village resemble shots from that movie...I wonder if those are meant to be referential given the similar setup of villagers learning to protect themselves from exploitation…hmm something to analyze another day perhaps.)

Now contrast all of that with these evil mother fuckers and their concept of family:

Or even the sarcastic, subtext laden interactions of these two who were raised and trained together under Hot Uncle:

The difference in how these elite characters communicate, ally amongst themselves, and betray each other is stark.

Qi Min hunting down Yu Qianqian, the mother of his child, and psychologically torturing her to the point that she no longer resembles the confident woman who befriended and mentored Changyu. Yuan Qing taking up with the bandit leader's sister despite obsessing over Changyu and wanting to violently conquer her. No loyalty, respect, or mutuality here. These elites are callous and unrepentant, almost grotesque in how they flaunt their power over others--even Qi Min's maid seemed to pity Qianqian. And refreshingly the script makes no excuse for them.

These are the antagonists of this story and the juxtaposition of them with Changyu's village escalates the stakes of the story.

[romchat]

Huh. Well this is an interesting bit of prop design. Check out the bandage wrapped around his hand gripping her so possessively.

So you mean to tell me that Qi Min kept the handkerchief Yu Qianqian gave him after he cut his hand protecting her against the drunk patron at her establishment?

And that he then used that same handkerchief to wipe the blood off his hands after killing his former nanny for speaking the truth about Qianqian's desire to kill him?

(Same hand by the way.)

This is so telling about his character and how he defines love. As @dangermousie notes, he is a monster in love:

"Loving someone doesn't make him any less psychotic and also, because he's been so messed up from childhood, his way of loving is the opposite of one anyone can want; he loves her more than his life, he's also textbook abusive."

Even after she tried to kill him, he still wants to possess her because of the bit of kindness she had shown him years ago. He couldn't save his mother from the fire that killed her and left him abandoned but he can entrap Qianqian, ensuring that only he gets to decide when she leaves him permanently. Her momentary token of care (the handkerchief) is now a brand that dooms her just like saving him from drowning sealed her fate before.

It's an obsessive love, one that will probably end with even more bloodshed than what currently stains his hands.