“Hani” is a Chinese drama directed by Hou Dasheng, produced by Sophie Li, Chen Ai, and Li Shuaizhi, with Halcyon Feng overseeing post-production. The movie runs 78 minutes and is presented in 2.39:1 color, completed in 2024. Shot in the misty mountain regions of Yunnan near the China–Myanmar border, the work is deeply rooted in the culture and lived reality of the Hani ethnic community. The project has gained international industry attention through appearances at the 2023 Marché du Film de Cannes and the Hong Kong International Film Festival’s HAF program, leading to its official selection at the 2024 Tallinn Black Nights Film Festival.
Positioning itself against official narratives announcing the nationwide eradication of poverty, “Hani” exposes child marriage, bride-buying, and generational neglect that remain prevalent in China’s most impoverished rural districts. The filmmakers draw directly from experiences witnessed within their own families, grounding the narrative in harsh truths that authorities prefer remain unseen.
Set in a remote Hani mountain village in 2021, “Hani” follows fourteen-year-old Hani, who dreams of marrying his sweetheart Pushiha, aged twelve. Both children live in poverty with single grandparents who remain largely unresponsive, spending their days sleeping in front of glowing televisions as small fires burn to keep the home warm. Yet every bride comes at a cost, and Hani has no hope of earning the 5,000 yuan dowry demanded by Pushiha’s grandmother.
As Hani strives to raise the money by any means necessary, he and his friend Apao become increasingly desperate, drawn toward risky ideas coming through phones and peers. When an attempted robbery goes wrong and entangles them with local crime boss Heche and his men, everything spirals into something far more dangerous. Meanwhile, new teacher Miss Tian (Tian Tian) arrives in the village, tasked with supporting children abandoned by the school system and by parents who are nowhere to be found.
Hou Dasheng presents a concept that is nothing less than shocking, particularly as it realistically portrays how adolescent children are forced to deal with child marriage, bride-buying, and survival in a world where adults are either absent or incapacitated. Their need to navigate corruption, violence, and exploitation while making impossibly mature decisions adds to the stark pragmatism of the work and stands as its most redeeming quality.
Furthermore, the fact that a tender love story lies at the core increases the emotional impact. Pushiha and Hani desperately seek a way to be together, perhaps unaware that their lives will not necessarily improve even if they do. The side stories involving the teacher and the mayor reinforce the bleakness of the environment, even if those narrative threads emerge as somewhat convoluted and confusing in execution.
This sense of confusion actually permeates the movie, as both the main plot and supporting elements are highlighted in a way that often assumes viewers already know the full context. Consequently, the editing becomes one of the most significant issues, with the work of Ji Huang and Ai Chen resulting in a structure that can feel disjointed. It also does not help that the director frequently implies rather than clearly shows what is happening or what has happened before, further adding to the lack of clarity. Lastly, the inclusion of sexual elements, while thematically tied to repressed adolescence and desperate survival, feels awkwardly integrated.
On a more positive note, Wenzheng’s cinematography is quite competent, blending documentary-like realism with artistic touches through impactful close-ups, and the coloring work is excellent. The sound design is less consistent, as it is sometimes difficult to discern who is speaking, though ambient elements are well utilized.
Gao Xiaokang as Hani and Pu Juan as Pushiha share a convincing chemistry that highlights the affection and innocence of their relationship. Tian Tian is also effective in presenting Miss Tian’s inner turmoil, whether silently or in more vocal moments.
In the end, “Hani” is one of those works whose importance outweighs its quality. The issues with narrative presentation make the viewing experience challenging, resulting in a movie that will certainly circulate the festival circuit but will likely appeal primarily to dedicated festival audiences.
