Film Name: 三滴血 / A Touch of Warm / Family at Large
Last night I caught up on the new film A Touch of Warm, which opened last weekend. Even with lowered expectations after being warned about it, the film still fell short. It had a solid premise, a well-constructed framework, and strong performances—upon closer inspection, there were many highlights. Yet when put together, it just didn’t hold up.
After revisiting director Kang Bo’s previous film, last year’s “Enjoy Yourself”—which felt tragic yet overly bitter—I began to understand this sensation: the film is undoubtedly made with heart, and both its merits and overall quality meet the baseline. Yet it lacks that certain “spark” that makes it truly memorable and elevates it to the next level.
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A Touch of Warm is a film about human trafficking. Hu Ge plays Zhu Shaoyu, nicknamed “Reindeer,” who infiltrates a local trafficking ring led by “Auntie” to find his abducted son. He agrees to help kidnap Li Qi (played by Wen Qi), a pregnant woman about to give birth. During this journey, he befriends Binggun, a mute child within the gang. Yet this brief odyssey is destined to end in tragedy.
Initially, the film’s narrative design is strikingly compelling: a crime thriller where right and wrong blur, intricate character relationships, and emotional bonds—whether rooted in blood or empathy—remain precarious. Set against the backdrop of the Lunar New Year and the desolate, snow-covered landscapes of Northeast China, the stage-like “bleakness” creates a visually stunning framework that quickly drew me in.
The problem lies in A Touch of Warm’s excessive fixation on meticulously documenting the protagonist’s quest and depicting the trafficking ring—in other words, it feels constrained by the subject matter itself. While achieving detailed character portrayals, it sacrifices the narrative’s necessary twists and dramatic tension. The entire film maintains a single tone, unfolding flatly and muddledly.
That said, the character development is excellent, with supporting roles often outshining the protagonists. Take Yan Ni’s portrayal of the midwife/ Auntie, and Song Jia’s portrayal of Diao’er, who carries her burdens with effortless grace yet remains fragile and adrift. Particularly compelling is child actor Gao Ziqi as the boy Binggun, perfectly embodying the stereotypical image of a streetwise, half-wild child from decades past. His mere presence, coupled with his mannerisms, instantly lends credibility to the role.
Unfortunately, due to the aforementioned issues, many plot twists and developments feel underdeveloped. Take the subplot where the old aunt sells Diao’er—it delivers the outcome and tone but lacks clear motivation. At least, the film’s hints and foreshadowing feel insufficient. Similar instances of “lack of chemistry” abound throughout the movie.
Honestly, I feel A Touch of Warm was shot with an intent to lean toward documentary-style filmmaking, yet its production setup is clearly that of a commercial film. This creates a persistent sense of mismatched expectations…
In truth, when scenes like the guesthouse and cherry orchard appear, the film excels at building a genuinely unsettling atmosphere. dim lighting, gloomy elders, an epileptic cripple, and faint infant cries—had it pursued horror or suspense given the subject matter, it might have achieved something. Yet the film merely skims the surface, offering fleeting glimpses before moving on.
To use a culinary analogy: A Touch of Warm prepared meticulously—top-tier ingredients, tools, and seasonings all went into the pot. Yet the cooking process was mishandled. The entire dish was stir-fried at a single, unvarying pace, with no adjustment of heat or technique, as if any bold movement might spoil the ingredients’ freshness. The result? A half-cooked, flavorless dish served cold.
I respect the director’s earnest creative approach and support for tackling human trafficking, but A Touch of Warm still has a long way to go before it achieves true cinematic depth and appeal.
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