Pongfei’s Take Off, which had its world premiere in competition at the Tokyo International Film Festival, represents both the continuation and evolution of the filmmaker’s artistic interests.
Adapted from Shuang Xuetao’s novella “The Aeronaut,” the film follows Li Mingqi (Jiang Qiming), an ordinary worker in northeast China, who inherits his late father’s obsession with flight, a dream that tests the limits of his tenacity over the course of several decades.
The story unfolds against the backdrop of China’s dramatic economic transformation from the 1970s to the present. After their homemade flying machine crashes and their brother-in-law is disabled, Li Ming-chi and his wife (Li Xue-ching) try to rebuild their lives by using a hot air balloon as a tourist attraction and opening a dance hall in an abandoned factory museum. But when his nephew becomes critically ill, Lee is faced with an impossible choice. Either accept the limitations of a landbound life, or risk everything for your final flight.
For Penfei, whose previous works Underground Fragrance and The Taste of Rice Flower focused on working-class and marginalized communities, this project marks his first literary project and deepens his interest in the subject. “I think ‘Take Off’ brings together the emotional themes of my previous films, such as love and family,” the director explains. “But this film delves into deeper layers by incorporating the emotional dynamics between individuals and their dreams, which gives the story even more depth.”
The film’s central tension, between the down-to-earth reality of factory workers’ lives and the transcendent pull of escape, required what Peng Fei calls unwavering honesty. “From the very beginning of the scriptwriting process, we were striving for authenticity and honesty in story, characters, and emotion,” he says. “There is an element of flight in ‘Take Off’ that represents a dream and is imbued with a strong sense of romanticism. But this spirit is supported by a concrete, grounded life on earth. Without this foundation, the element of flight would not be as poignant.”
Translating Shuang Xuetao’s literary world to the screen posed unique challenges. “The characters in Shuang Xuetao’s works are full of humor and wisdom, just like the author himself,” Pengfei said. “When I read his novels, I often find myself laughing out loud. But the challenge lies in the intensity of his characters and stories. They are like shots of espresso.”
To understand the roots of the sentiment, Pengfei conducted extensive field research in northeast China, interviewing retired factory workers. “Despite their retirement, they looked back on the past with undiminished vigor and humor,” he recalls. “That inspired me to bring that same sense of warmth and wit to this film.”
Casting proved critical to the film’s emotional authenticity. Peng Fei took the lead against Jiang Qiming, who is known for “Journey to the West” and “The Long Season.” “Jiang Chi-ming is an outstanding, deeply focused actor with a certain sense of aloofness that perfectly matches the way Li Ming-chi is portrayed in the novel and screenplay,” says the director. “The names are similar, aren’t they?”
The moment of recognition came during the first costume fitting. “When he came out after the first costume fitting, I immediately thought, ‘He’s straight out of a novel,'” Penfey recalls. The cast also includes veteran actor Jiang Wu, whose natural chemistry with Jiang Chiming requires minimal direction. “In the scene where he and Jiang Qiming share a meal, I hardly needed to direct it, and it was already fun just watching it.”
Working with cinematographer Lv Songye, Pengfei significantly changed the style from the previous film. “In previous films, we had used a lot of static shots, but after talking with him, we decided to shoot ‘Takeoff’ entirely with moving cameras, either handheld or on a truck, with the camera as close as possible to capture the breathing of the actors,” he explains.
Production designer Liu Qing collaborates with Chen Kaige and Jiang Wen, adding his own unique touch to period details. “He had a deep passion for that era, and in ‘Take Off,’ he put all of his own memories into the film,” Penfey says. “Memory itself is a fusion of lived experience and romantic imagination.”
As for music, despite the language barrier, or perhaps because of it, Penfei has returned with a third collaboration with Japanese composer Keiichi Suzuki. “I actually think that’s an advantage,” says the director. “We communicate in the simplest way possible. For this project, I told him just one keyword: ‘romantic dreams’ and he understood immediately.”
Pengfei’s career includes working with Taiwanese director Tsai Ming-liang on Stray Dogs, an experience that shaped his approach to filmmaking. “Director Tsai Ming-liang had a deep influence on me, so it took me a long time to focus on my path,” he admits. “What I learned from him, his seriousness about film and his almost obsessive attention to detail, has benefited me for the rest of my life.”
When asked about “Forrest Gump” as a reference point, Pengfei said that although there are important differences, persistence is a common denominator. “Forest is probably unconscious, but Lee Ming-chi is fully conscious,” he explains. “In my film, I decided to portray tenacity through the act of letting go. The character stops talking about his dreams and stops dwelling on them, but that doesn’t mean he’s lost his love for them. Ultimately, when faced with a moment that requires an all-or-nothing effort, he doesn’t hesitate to pick up his dreams again.”
Ultimately, Pengfei believes that “Take Off” transcends its specific setting and addresses universal questions about dreams and dignity. “Well, I think it’s a fable-like story with a touch of a fairy tale,” he recalls. “What impresses me is that dreams don’t have to be chased all the time. Sometimes when you’re middle-aged and exhausted by life, there comes a sudden moment when the dreams you had when you were young suddenly awaken. You may have to pay a high price for it, but the question is whether you’re still willing to take that step and fight for it. My answer is: I am.”
Looking to the future, the director plans to continue collaborating with Shuang Xuetao. “I’ve only scratched the surface of his world,” he says, which suggests that this journey into working-class life in northeast China is far from over.
