China’s Anti-War Film Revolution

In a cinematic landscape dominated by Hollywood blockbusters, it’s rare to see a film that challenges the status quo without fanfare or controversy. China’s Once Upon a Time in the Middle East is doing just that – quietly subverting decades of Western-centric anti-war storytelling with its refreshingly simple premise.

The film tells the story of Xu Fu, an ordinary Chinese cook who finds himself caught up in the chaos of war while working abroad to pay off debt. As conflict erupts around his small restaurant, he doesn’t take up arms or deliver grand speeches – instead, he keeps cooking. This quiet defiance shatters the Western “saviour” archetype at the heart of so many international anti-war films.

For decades, Hollywood has told stories of war from the perspective of foreign soldiers, often casting them as lone heroes imposing order on chaotic local populations. Films like The Hurt Locker and American Sniper have critiqued the horrors of war while reinforcing this paternalistic dichotomy – reducing locals to passive victims who exist solely to serve as backdrop for the agency of foreign troops.

The film flips this script by centring Xu Fu, a civilian whose primary act of defiance is feeding people. This shift has ignited a fresh debate about global storytelling: can international cinema move past the binary of conqueror vs victim and build narrative tension around the preservation of daily life?

The film’s narrative is rooted in Chinese history – the protagonist’s name, Xu Fu, brings to mind the alchemist sent overseas by Emperor Qin over 2,200 years ago. However, while the ancient Xu sailed to seek imperial immortality, the modern Xu travels simply to earn a living. He represents generations of Chinese migrants who built roads, manned kitchens, and quietly endured hardships in foreign lands.

This historical context highlights the complexities of China’s global influence. While the country’s rise as a world power has been marked by significant military expansion, Once Upon a Time in the Middle East offers a more nuanced view – one that prioritizes civilian resilience over martial prowess.

As the film gains traction on the mainland box office, its implications extend beyond the screen. International cinema can move past simplistic dichotomies and offer more nuanced portrayals of war’s impact by centring civilians and their struggles. The answer lies not in grand gestures or Hollywood-style spectacle, but in quiet acts of defiance that sustain people through conflict – like Xu Fu’s cooking.

This shift has significant implications for global storytelling. By prioritizing human endurance over military might, films can move beyond simplistic portrayals of war and offer more nuanced views of its impact on civilians, soldiers, and communities around the world.

The film’s success will be watched closely by studios and producers eager to tap into China’s growing influence in global cinema. But what does this mean for the future of anti-war storytelling? Will Hollywood respond with its own brand of revisionism – incorporating more nuanced portrayals of local populations without fundamentally challenging the Western “saviour” archetype?

The answer lies not in formulaic changes or tokenistic gestures, but in a genuine willingness to rethink the way we tell stories about war. By prioritizing civilian resilience and quiet acts of defiance, films can move beyond simplistic dichotomies and offer more nuanced portrayals of conflict’s impact on people and communities.

As Once Upon a Time in the Middle East continues to captivate audiences, its legacy will be felt far beyond the screen – in the way we tell stories about war, in the way we view global influence, and in the quiet acts of defiance that sustain people through conflict.