Film Name: 輕於鴻毛 / Fish Flew Away
After seeing the initial wave of audience reactions to “Fish Flew Away,” I wasn’t in a rush to watch it—my expectations had lowered, after all… Yet even so, when I finally did see it, that peculiar, awkward sense of disappointment still caught me off guard.
You feel reluctant to outright call it terrible, since the film does dare to tackle genuine social struggles, and its fundamental stance and starting point aren’t misguided… Yet the actual quality of the finished product teeters right on the edge of being a bad movie.
The biggest problem with “Fish Flew Away” is that the reality it portrays is completely disconnected from the theories it attempts to express. It certainly can’t compare to well-made films that achieve unity of knowledge and action. Even those pretentious, superficial works seem more self-consistent.
The film’s plot is as follows: When Zhong Shi jumps into the sea, it brings together his two ex-wives—Li Yu (played by Song Jia) and current wife Shen Feihong (played by Tong Liya)—who were unaware of each other’s existence. Zhong Shi’s sudden death leaves a mess for others to clean up: unpaid debts, and a house registered under his name but controlled by Li Yu, which should now belong to Shen Feihong—
In other words, the two female leads are adversaries fighting over inheritance, yet they must navigate this dynamic to find mutual support and redemption.
It’s not that portraying “hostile yet symbiotic” female relationships is inherently flawed—it’s just incredibly difficult to execute well. Mastering it would be impressive, but “Fish Flew Away” clearly falls short of that mark.
Li Yu’s character is “tough”—she runs her own nursing home and confronts tangible betrayals and injustices head-on. Shen Feihong’s character is “soft”—she usually endures wrongs without complaint, obediently following Zhong Shiyan’s lead throughout their marriage. Fighting for the house marks her first attempt to assert her rights… Legally, Shen Feihong holds the upper hand. Yet her character flaws, coupled with Li Yu’s emotional appeal, create a stalemate between them.
Anyone with basic social experience knows property disputes rarely end peacefully. Arguments—even physical altercations—are commonplace. Even if both sides maintain appearances, behind the scenes, neither will yield an inch.
So how did “Fish Flew Away” handle it? By having the two protagonists deeply immerse themselves in each other’s lives—sharing joys and sorrows like best friends—until the audience nearly forgot their contentious relationship. Then, it abruptly reminded them of the lingering property dispute.
The mid-to-late “road movie” sequence where they take Zhong Shi’s mother back to her hometown feels especially jarring (especially since this mother-in-law had her household registration revoked). In a context where lawsuits and disciplinary actions loom at any moment, we witness two daughters-in-law tenderly caring for an 80-year-old grandmother—the sentiment is sound, but it’s hard to swallow.
Even viewed through the lens of two close female friends, the redemptive relationship between Li Yu and Shen Feihong feels thin. It largely boils down to Li Yu instructing Shen Feihong to “toughen up,” while her understanding of gender roles remains largely stuck at the “macho man and delicate woman” level. Conversely, Shen Feihong’s attempts to touch Li Yu’s inner vulnerability are negligible—unequal and lacking depth.
Moreover, the male figures in “Fish Flew Away” are extremely abstract and one-dimensional. Zhong Shi, the instigator of all chaos, serves merely as a scapegoat and a symbol embodying all male vices. The comedic relief characters—Ah Fei, the nephew, and the restaurant man—are either insignificant or resort to gender-swap jokes that feel cheap and uninspired.
When even the subjects meant for scrutiny and critique lack substance, the film’s intended stance and emotional resonance inevitably crumble.
The resolution of “Fish Flew Away” ultimately relies on Shen Feihong fabricating Zhong Shi’s will to transfer the house to Li Yu. Had I not watched the entire film from start to finish, I’d find it hard to believe such a plot device—or even if I had, it would be difficult to accept.
Frankly, this film struck the wrong note from the outset. It crammed in a potful of heavy ingredients yet fixated on carving intricate patterns on the main meat. Calling it a mismatch would be an understatement; often, its two narrative threads clash and cancel each other out.
Sure, we could separate “film from reality,” but “Fish Flew Away” chooses to preach hollow platitudes using real-life scenarios, devolving into a disjointed mess of empty slogans and theoretical ramblings. No wonder audiences struggle to engage.
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