A young girl from China living in a quaint fishing village in Wales finds herself at odds with her mother’s traditional stories yet stumbles upon an enchanting experience in the short film ‘Under the Wave off Little Dragon.’
In this captivating film, directed by Luo Jian, we follow the journey of a girl as she navigates the bustling environment of a Chinese restaurant, engaging in conversations with her hardworking mother. This piece is part of the prestigious 69th edition of the BFI London Film Festival (LFF) and is deserving of attention.
Spanning a concise 14 minutes and offering dialogues in Mandarin, English, and Welsh, this film is featured in a collection titled “Discovering Home,” showcasing short films that reflect diverse narratives.
The storyline reveals how a Chinese girl, residing in a Welsh coastal community, initially dismisses the folklore shared by her mother. However, her skepticism is challenged when she encounters a magical phenomenon. Kexin Wang delivers a compelling performance as the inquisitive FeiFei, supported by a talented cast that includes Ah Mui Lau, Jessica Dong, Stevee Davies, Rhys Meredith, Ross Foley, and Lee Mengo.
‘Under the Wave off Little Dragon’ proudly ranks among four selected shorts produced by Film4 for the LFF, receiving encouragement and financial support through Future Takes, a collaborative venture between the BFI and Channel 4’s Film4. Creative and production teams provide comprehensive assistance throughout the filmmaking process. Once completed, these mini-stories enjoy an exhibition platform and are later accessible for streaming on both Channel 4's platforms and the BFI Player.
In an engaging conversation with The Hollywood Reporter, Jian opened up about the inspiration behind the film, the delightful young actress portraying the lead role, and her aspirations for future projects.
So, what inspired this film idea? How did your life experiences shape its creation?
Three years ago, I made the significant transition from the U.S. to the U.K., a change that left me feeling quite isolated. My arrival coincided with a rather gloomy January in the U.K., which was quite the adjustment for me. Having relocated to London from the vibrant streets of New York City, I took a family trip to Wales with my partner, who has Welsh roots. In Wales, I felt a wave of comfort wash over me; it mirrored my childhood home, abundant with sheep and lush greenery. I spent my early years in a verdant region of the Gobi Desert in China, where the landscape is strikingly vibrant despite its proximity to arid deserts. Perhaps my longing for home triggered this feeling. Intriguingly, I began to notice traces of my Chinese heritage all around me in Wales.
What observations emerged beyond the picturesque scenery?
I noticed charming Welsh dragon statues adorning people's homes. This sparked a light-hearted debate with my boyfriend, as I jokingly claimed they resembled Chinese dragons. He quickly corrected me, insisting, "No, that’s the Welsh dragon; we’ve had that longer."
How did you discover your enchanting young lead?
We first met her when she was just seven years old. Our remarkable casting director played a vital role in discovering many talented young actors, most of whom were inexperienced. The girl we chose for the role of FeiFei had no prior acting experience and came to the auditions accompanied by her mother. While most of the other children had experience, we placed great importance on observing their interactions with family members during auditions. I prefer to cast authentic individuals, and I believe that bringing real people into the project can foster a more genuine on-screen chemistry.
When she walked in, her seriousness caught our attention—a quality I rarely encounter in other kids. As I got to know her better, it became evident that her composed demeanor was just her way of coping with nervousness. There was something incredibly endearing about her serious nature at such a young age, especially when her mother played a significant role in improvising scenes alongside her. Interestingly, they also manage a restaurant near Heathrow, a detail we were unaware of until after the casting process was complete, as the mother chose to keep it under wraps.
Was the casting process swift?
We only met her on the final day of auditions.
As I watched the film, I couldn’t help but reflect on how we find our roles and sense of belonging in the world. Did you embark on this project with specific themes in mind?
Interestingly, my ideas evolved significantly through the casting process. Originally, the script was closely based on my experiences—focused on a child who just arrived in the U.K. and was grappling with loneliness. However, once I found someone born in the U.K. to play FeiFei—a girl who speaks Chinese at home yet is comfortable with English as her first language—I adapted the script. This shift enabled me to explore the narrative of a second-generation child rather than a first-generation immigrant.
FeiFei’s mother represents a first-generation immigrant, which creates a compelling narrative dynamic in the film. Can you elaborate on this?
Certainly! FeiFei hears stories from her mother, who carries the perspectives of someone from a foreign hometown. It’s intriguing to explore the relationship that FeiFei has with a culture that’s not originally hers but is still significant to her mother—someone she trusts deeply.
The film showcases the imagery of fish and dragons. Is there deeper symbolism attached to these creatures in Chinese culture, akin to the religious meanings fish may hold in Western traditions?
While I’m not an expert in Chinese religion, I know that fish often appear in Buddhist scriptures, holding various symbolic meanings integral to Chinese culture. The idea of fish transforming into dragons is a common theme; it teaches a lesson about ambition—if a fish can swim fast enough and leap high enough, it can become a dragon. The dragon in this context represents the pinnacle of achievement, warning audiences to strive for a better life.
But is it necessary to have these kinds of narratives?
I personally do not subscribe to these tales; they don’t provide me with strength. This is why, in the film, you observe the mother narrating the story of the fish and dragon to FeiFei, who, interestingly, doesn’t completely believe in its significance either—though she may carry a sense of curiosity about it.
Do you have any future projects in mind?
I’m cultivating a few feature film concepts, but my creative process tends to be slow. Writing doesn’t come quickly for me.
For those interested in additional insights into LFF 2025 shorts, consider checking out:
- Aidan Gillen as a 1980s pop star grappling with a moral decision in Kathryn Ferguson’s ‘Nostalgie’.
- Explore how ‘Flock’ writer-director Mac Nixon aims to reshape Welsh identity on screen through his narrative focus on sheep and collective behavior.
- ‘Magid / Zafar’ writer-director Luís Hindman’s work delves into themes of South Asian masculinity, providing another compelling watch.
