Imagine a young girl navigating the clash between her family's ancient tales and the stark realities of a new world— a heartfelt tale that tugs at the heartstrings and challenges what we believe about belonging and folklore. But here's where it gets controversial: What if rejecting your heritage's myths leads to an unexpected magical twist that forces you to reconsider everything? Dive in as we explore 'Under the Wave off Little Dragon,' a captivating short film that's not just a story, but a mirror to cultural identity and the immigrant experience.
In this enchanting 14-minute film directed by Luo Jian, we follow a Chinese girl bustling around a restaurant, chatting with her hardworking mother. It's one of the standout shorts at the 69th BFI London Film Festival (LFF), part of a curated collection called 'Discovering Home.' The movie blends Mandarin, English, and Welsh languages, creating a rich tapestry of voices that reflect its themes. And this is the part most people miss: It's not just about dialogue—it's about the unspoken connections that bridge cultures.
The plot centers on FeiFei, a curious young protagonist portrayed by the talented Kexin Wang. The synopsis sums it up beautifully: 'A Chinese girl growing up in a Welsh fishing village rejects her mother’s folklore, until she experiences one magical encounter.' FeiFei dismisses the old stories her mom shares, rooted in Chinese traditions, until a whimsical event makes her question her skepticism. Supporting the cast are Ah Mui Lau, Jessica Dong, Stevee Davies, Rhys Meredith, Ross Foley, and Lee Mengo, each bringing depth to this multicultural narrative.
As one of four Film4 shorts at the festival, 'Under the Wave off Little Dragon' benefited from the Future Takes initiative—a collaborative effort between the BFI and Channel 4’s Film4. This program provides creative and production support from start to finish, ensuring filmmakers get the guidance they need. Once complete, these films hit the screens at a special showcase and then become available for streaming on Channel 4 platforms and the BFI Player, making them accessible to a wider audience.
Director Luo Jian opened up to The Hollywood Reporter about the film's origins, drawing from her own life experiences. She shared how personal loneliness inspired the concept, explaining that three years ago, she relocated from the U.S. to the U.K. during a gloomy January in London, where the darkness felt overwhelming. A trip to Wales with her partner—who's half Welsh—lifted her spirits. The lush green landscapes, dotted with sheep and grasslands, reminded her of her childhood home in the greener fringes of China's Gobi Desert. In Wales, she spotted echoes of China, like the Welsh red dragon statues that sparked playful debates with her boyfriend about cultural ownership. 'I saw hints of China everywhere in Wales,' she recalled, highlighting how familiar elements can make a foreign place feel like home.
Beyond the scenery, Jian noticed symbols that bridged worlds, such as those dragon statues on people's walls, leading to lighthearted arguments about whether they were Chinese or Welsh in origin. This sparked the film's exploration of shared symbols and how cultures intertwine, even if they claim them differently.
Casting the lead was a stroke of luck. Jian and her team discovered Kexin Wang through a dedicated casting director who sourced inexperienced children, focusing on how they interacted with their families for authenticity. Wang, just seven years old at the time, arrived with her mother, embodying a serious demeanor that masked her nervousness. Jian admired this charm, describing how the child pretended to be poised to cope with the excitement. The mother even improvised scenes, adding natural flair, and it turned out they ran a restaurant near Heathrow— a detail that mirrored the film's setting and themes.
Interestingly, the casting process revealed Wang on the very last day, proving that sometimes the perfect fit comes when you least expect it. Jian prefers using real people and their connections, believing it fosters genuine interactions, much like in Chinese filmmaking traditions where casting often involves bringing in familiar faces for more organic performances.
The film's themes evolved during production. Initially, the script mirrored Jian's own experiences of a newcomer grappling with isolation in the U.K. But casting Wang—a second-generation immigrant who speaks Chinese at home but English as her first language—shifted the focus. Through improvisation, the story morphed into one about a child of immigrants, exploring the tension between inherited cultures and personal identity. FeiFei's mother, a first-generation immigrant, shares stories from her homeland, creating a dynamic where trust in unexperienced tales plays a key role. And here's where it gets controversial: Is it fair for parents to impose folklore on kids who've never lived it, or does that pressure enrich their lives? Jian delved deeper, questioning how second-generation individuals relate to a culture that's 'borrowed' rather than lived firsthand.
Symbolism abounds in the film, with fish and dragons playing pivotal roles. In Chinese culture, fish often symbolize abundance or perseverance, appearing in Buddhist stories where they represent transformation—swim fast enough and jump high, and a fish can become a dragon, a 'fish 2.0' as Jian puts it. It's like a motivational fable urging ambition, reminding us to strive for better. Yet Jian admits she doesn't personally draw strength from such tales, neither does FeiFei fully embrace them at first. This subtle rejection sparks debate: Are these stories outdated relics, or do they hold timeless wisdom for modern generations? It's a point that might divide viewers—do you see them as empowering, or just quaint?
Looking ahead, Jian is brewing ideas for feature films, though she notes her writing process is deliberate, not rushed. 'It always takes me a long time to go from one to the next,' she shared, hinting at more introspective works to come.
If this film has you pondering your own roots, check out other LFF 2025 shorts like 'Nostalgie,' where Aidan Gillen plays a 1980s pop star facing an ethical crossroads directed by Kathryn Ferguson; 'Flock,' which uses sheep and mob mentality to reframe Welsh identity under Mac Nixon; and 'Magid / Zafar,' Luís Hindman's rhythmic exploration of South Asian masculinity.
What do you think—does rejecting folklore make us lose something valuable, or is it a necessary step toward modern identity? Share your thoughts in the comments: Agree that magical encounters can change perspectives, or disagree that second-generation stories trump firsthand immigrant tales? Let's discuss!
