Chu Que Wu Shan 2007 | 8K |

In the landscape of Chinese cinema, love stories are often subject to the unspoken rules of the "frame"—what can be shown, what must be implied, and what is forbidden entirely. Yet, every few years, a film emerges that bypasses the gatekeepers not through rebellion, but through the sheer, aching humanity of its characters. "Chu Que Wu Shan" (除却巫山) , which gained its cult following in 2007, is precisely that anomaly.

For those searching for the term "Chu Que Wu Shan 2007," you are likely looking for more than just a film review. You are looking for an artifact—a piece of Queer cinema history that navigated the narrow straits between poetic allegory and explicit desire in contemporary China. This article dives deep into the film’s origins, its poetic title, its narrative complexity, and why, nearly two decades later, it remains a whispered legend.

The title "Chu Que Wu Shan" (楚却巫山) is steeped in classical Chinese literature. chu que wu shan 2007

Listening to the track, you will notice:

Directed by Li Yu (a female director known for her raw, naturalistic style, though she has since distanced herself from some of the more sensational marketing of this film), Chu Que Wu Shan (internationally known as The Chinese Botanist's Daughters) is set in a lush, isolated botanical garden in late 20th-century China. In the landscape of Chinese cinema, love stories

The story focuses on two women:

In 2007, the chemistry between actresses Jie Dong (as Xiao Mei) and Siyan Huo (as Xiao Ling) was electric precisely because of its awkwardness. The film does not rush into explicit scenes. Instead, it builds tension through botany. The father is studying the reproduction of rare orchids—metaphors for pollination, mutation, and hermaphroditic plants that do not need a "male" to reproduce. In 2007, the chemistry between actresses Jie Dong

The affair begins with a stolen glance, escalates to a fumbling kiss in the greenhouse, and culminates in a scene of intimacy that, while tame by Western standards, was radical for mainland China in 2007. The "2007" timestamp is crucial here. This was an era before the explosion of LGBTQ+ content on streaming platforms. Brokeback Mountain was banned in mainland theaters. The internet was slow, censored, and decentralized.

While many "China Wind" songs in 2007 were dominated by younger pop idols like Jay Chou or JJ Lin, Tong An Ge was a veteran superstar (often called the "Prince of Love Songs" in the late 80s/90s).