Chu Que Wu Shan 2007 ((hot))

Unraveling "Chu Que Wu Shan" (2007): A Deep Dive into the Chinese Indie Romance

Released in 2007, Chu Que Wu Shan (Chinese: 除却巫山)—also known by its English title, Except Wushan—is a poignant Mandarin-language drama that explores the complexities of love, literature, and social dynamics in contemporary China. Directed by Qiang Zhong, the film stands as a notable entry in mid-2000s Chinese independent cinema, particularly for its focus on intimate, character-driven narratives. Narrative Core: Love and Literature

The film’s central narrative revolves around the "ups and downs and lingering love story" between two women from different walks of life:

Liu Yin (played by Diana Pang): A young, soulful female writer.

Deng Jiajia (played by Jiajia Deng): A spirited young female college student.

The story navigates their emotional connection, juxtaposing the intellectual world of a writer with the burgeoning identity of a student. While plot details are kept relatively sparse to emphasize the "lingering" nature of their romance, the film is categorized as a Drama/Romance that prioritizes atmosphere and sentiment over rapid-fire action. Key Cast and Crew chu que wu shan 2007

The production features talent that brought a distinct flavor to this indie project: Director: Qiang Zhong.

Lead Actresses: Jiajia Deng and Diana Pang (also credited as Peng Dan).

Rating: The film currently holds a 6.7/10 rating on IMDb, reflecting a favorable but niche reception among viewers. Cultural Significance of the Title

The title Chu Que Wu Shan (除却巫山) is derived from a famous line of classical Chinese poetry by Yuan Zhen: "Except for the Wushan mountains, other clouds are not worth looking at" (除却巫山不是云).

Symbolism: In Chinese literature, the "Wushan clouds" often symbolize ultimate beauty or a love so profound that everything else pales in comparison. Unraveling " Chu Que Wu Shan " (2007):

Thematic Link: By choosing this title, the film positions the relationship between Liu Yin and the student as a singular, irreplaceable bond that renders all other experiences secondary. Production and Context

Released during a period of transition for the Chinese film industry, Chu Que Wu Shan joined other 2007 releases like Blind Mountain and Whispers and Moans in pushing the boundaries of realistic storytelling. While it didn't achieve the global commercial footprint of larger blockbusters, it remains a point of interest for fans of Mandarin-language romance and those exploring the early careers of actresses like Deng Jiajia. Chu que wu shan (2007) - Release info - IMDb

Also known as (AKA) * (original title) Chu que wu shan. * China. 除却巫山(Cantonese, Working Title) * Japan. Chu Que Wu Shan(Japanese) Except Wushan (2007) - MUBI

Chu Que Wu Shan | 除却巫山 Directed by Qiang Zhong. China, 2007. Drama, Romance. Chu que wu shan (2007) - IMDb

2. The Artist: Tong An Ge (童安格)

While many "China Wind" songs in 2007 were dominated by younger pop idols like Jay Chou or JJ Lin, Tong An Ge was a veteran superstar (often called the "Prince of Love Songs" in the late 80s/90s). A Mature Take: Tong An Ge brought a

A. A Forgotten or Niche Web Novel Title

Between 2005–2010, thousands of amateur Chinese web novels used poetic geographical names (Wu Shan, Chu, Shu, Yun Yu).
A possible title: 《出缺巫山》 — a fictional story about a vacant official position (出缺) in the Wu Shan region, perhaps blending romance and political intrigue.
The “2007” might be the year of publication on a now-defunct blog or novel forum.

Summary

Chu Que Wu Shan (2007) is a beautifully filmed, poetically titled tragedy. It is a story about the persistence of memory and the pain of a love that cannot be fulfilled. It is highly recommended for viewers who appreciate the "Republic-era romance" genre and are prepared for a story that values emotional resonance over a happy ending.

Absence as form and content

Consider absence not merely as lack but as aesthetic device. In literature and visual art, voids frame meaning: what is left out compels projection. “Chu Que Wu Shan” can be taken as an artistic program that privileges negative space. Works titled or themed around this notion might deliberately foreground what is missing — histories erased, voices excluded, structural gaps — forcing viewers to confront the architecture of omission. Yet the phrase’s stark conclusion — “no goodness” — challenges the romanticization of absence: gaps can also wound, conceal injustice, and permit erasure under the guise of minimalism.

The Controversy: Artistic Merit vs. Sensationalism

While the film is beloved by many for its atmospheric cinematography (the verdant greens of the garden contrasting with the pale skin of the actresses), it is not without its critics. Upon searching "Chu Que Wu Shan 2007," you will find split opinions.

The Pro Argument (The Romantic View): Fans argue that the film is a masterclass in "soft imagery." Director Li Yu uses water, rain, and plant sap as fluids of love rather than explicit nudity. The famous "boat scene" where the two women drift down a river shrouded in mist is a direct visual translation of the poem's "Wu Mountain clouds." It is art-house lesbian cinema.

The Con Argument (The Critic View): Critics, particularly in the Chinese underground, argue that the film relies too heavily on the "tragic lesbian trope." Without spoiling the ending, the film adheres to the classic censorship requirement: deviant love must be punished. The male figure (the botanist/father) ultimately exerts a tragic, patriarchal control over the narrative. Furthermore, some argue that the explicit scenes were included primarily to attract international festival buyers, a common criticism of early Chinese Queer cinema.

4. Why it Still Matters (Context: 2007)

The year 2007 was arguably the peak of the "China Wind" movement. While songs like Chrysanthemum Terrace or Blue and White Porcelain got international attention, tracks like Chu Que Wu Shan represented the "deep cuts" of the genre. It proved that the fusion of traditional Chinese poetry and modern pop wasn't just a gimmick for the youth market, but a medium that could be mastered by established balladeers to convey complex, mature emotions.