Dong Ji Dao

With his portrayal of Abi in Dongji Rescue, Zhu Yilong delivers yet another masterclass in character acting - a raw, nuanced study of a fisherman's metamorphosis that now stands proudly among his most iconic roles: the chillingly convincing villain He Fei in Lost in the Stars, the deeply moving Sange in Lighting Up the Stars, and the psychologically complex Ma Zhe in Only the River Flows. In this career-defining performance, Zhu charts Abi's journey from reluctant protector to battle-hardened warrior with such visceral authenticity that it transcends language barriers.

Zhu's complete physical immersion impresses audiences from the first frame. To embody Abi's rugged fisherman physique, he achieved an astonishing 9.5% body fat through grueling preparation. But his commitment extends far beyond aesthetics - in breathtaking underwater sequences (performed without stunt doubles), Zhu trained to hold his breath for 4.5 minutes and free-dive 15 meters, creating action scenes of unparalleled realism where every gasp for air feels viscerally real.

Zhu's genius shines through his mastery of micro-expressions and body language. Through Zhu's layered performance, Abi becomes more than a wartime protagonist - he embodies the dualities of human nature itself. We see the primal survival instinct of a cornered animal, the burning rage of vengeance, yet always the underlying compassion of China's fishing communities. Zhu refuses to play him as a nationalist symbol or action hero, but as a profoundly relatable man whose courage springs not from ideology, but from love for his loved ones.

To fully appreciate both Zhu's physical performance and the film's brilliant cinematography, Dongji Rescue demands to be seen in IMAX.

If you saw Fang Li's documentary from 2023 on the sinking of the "Lisbon Maru" then you'll know it was a freighter travelling from Hong Kong to Japan carrying over a thousand British POWs. It was torpedoed by an US submarine and to say the treatment of the prisoners by their captors was inhumane would be the mother of all understatements! What this dramatisation does is shift the emphasis more onto the brutality of the occupying forces on a nearby Chinese island. There, the local population were controlled by a small garrison and prohibited from taking their fishing boats out to sea. There are two brothers, reputedly with pirate blood, who ignored this ban though and it was on one such trip that "Bi" (Yilong Zhu) and "Dang" (Lei Wu) discover the malnourished and emaciated "Newton" (William Franklyn-Miller) floating on the water. One thinks they should leave well alone, the other wants to rescue the man and after some scuffling and legerdemain, "Newton" finds himself on the island and the focus of a search by the forces now under the command of a particularly savage young lieutenant. Meantime, the stricken ship is slowly sinking and as the islanders can see the smoke and hear the explosions, they determine to set sail against the overwhelming firepower lined up against them, and try to save the people in the water being routinely slaughtered by machine-gun fire. There is a fair amount of CGI here and it's not great, but the substance of the story quite successfully manages to mix the actual history with the courageousness of the fishermen and a little magical fantasy - these two brothers have positively Atlantean diving skills and can hold their breaths and fight the currents formidably - and is consistently paced throughout. The calculating violence and savagery of their enemies is well illustrated here and the two sibling characterisations are engagingly presented as their journey takes them, and the feisty "Hua" (Ni Ni) out to sea and into the teeth of a slaughter. The philosophy of the dramatisation reminded me at times of a bit of "Bridge over the River Kwai" meets "Tenko"; epitomised the oppression faced by a community that probably hadn't changed much in generations and that was in no way equipped to deal with the rifle-armed squad of bullies who took control of their island for no real reason beyond that they could, and that that population was beneath their contempt. It's a bit long, and clearly has a degree of modern-day jingoism to it's style and presentation, but it keeps an important-to-remember story alive, and works well enough.

Dongji Rescue is a well-crafted production with compelling performances, striking visuals and music, and a clear, engaging narrative. It serves as a cultural message from China to the international community, offering a perspective that differs from the more familiar Western narratives. By focusing on the compassion and solidarity shown by ordinary Chinese people, the film combines emotional impact with historical depth. It is a work I would definitely recommend, especially to international audiences, for both its artistic quality and historical significance.

Dongji Island or Dong Ji Rescue is more than an action-packed war drama - it's a haunting reminder of the darkness that conflict casts over ordinary lives, and a moving tribute to the human spirit that transcends borders. The film does not shy away from showing the cruelty, fear, and moral compromises that war breeds, yet it balances these with moments of compassion, solidarity, and sacrifice that feel profoundly real.

The cinematography is stunning, capturing both the stark brutality of battle and the fragile beauty of the sea. Performances are deeply affecting, with each character embodying the complex choices people must make when survival and morality collide. Most striking is how the story reaches beyond national identity, showing that courage and kindness can unite people even in the most divided times.

In the end, Dongji Island leaves you with both the weight of history and the enduring belief that, even in the darkest hours, the light of humanity can shine through. This is a war film with a soul - and it deserves to be seen.

Grateful that I managed to catch this movie while I'm in China for holiday. The overall presentation of the movie was great! The soundscape, the different scenes, the plot, the relationship and struggle between the different characters.

After the whole movie, I left the theatre with a heavy heart but at the same time, thankful that the fishermen on Dongji Island have lend a hand to the POW from British.

History shall never be forgotten and history shall never be amended.