Editor's Note: Teng Jimeng, a special commentator for CGTN, is a film critic. The article reflects the author's opinions, and not necessarily the views of CGTN.

The movie "Dongji Rescue," which premiered in theaters across China on August 8, dramatizes the 1942 Dongji Island rescue incident, in which local fishermen risked their lives to save British prisoners of war during World War II (WWII) when the Japanese ship carrying them, the Lisbon Maru, sank after being torpedoed by the Americans.

Distinct from conventional war epics, "Dongji Rescue" shifts attention away from large-scale military campaigns to illuminate the quiet yet extraordinary bravery of everyday individuals whose actions safeguarded human dignity in the face of atrocity. The production is noted for its meticulous historical reconstruction, aiming to preserve the authenticity of both the setting and event.

First shown in July at the opening of the 2025 Shanghai Cooperation Organization (SCO) Film Festival, it attracted considerable attention for its poignant storytelling and historical depth. Upon its wide release, "Dongji Rescue" made an impressive box office debut, grossing approximately 350 million yuan ($48.74 million) on its opening day.

While there are debates among audiences and critics on the film's artistic approach and narrative tone, yet there is broad agreement on one essential point: "Dongji Rescue" brings to light an overlooked chapter of history through the lens of ordinary Chinese fishermen, offering a powerful testament to the spirit of international humanitarianism and mutual aid in times of great peril.

Actor Zhu Yilong, who is one of the two heroic fishermen brothers in the film, gives one of his most grounded and moving performances, embodying the quiet resolve of a fisherman-turned-reluctant rescuer. His portrayal avoids easy heroics; instead, he offers a nuanced study of a man balancing fear, duty and humanity.

Ni Ni, playing a local woman with intimate knowledge of the seas, shows understated strength – her eyes and silences carrying as much weight as her actions. Together, their performances anchor the film in lived-in authenticity, making the stakes feel both personal and monumental.

The plot unfolds with taut pacing, interweaving moments of tense action with pauses for moral reckoning. The sea rescue sequences are staged with visceral realism: The meticulous sets evoke the salt-stained, wind-battered world of Dongji Island, creating a convincing illusion of boats heaving in storm-tossed waves. The choreography of chaos – men diving into ice-cold waters, ropes whipping through the air, the gradual and terrifying tilt of the sinking ship – shows the production's commitment to immersive spectacle.

Crucially, the use of IMAX cameras for the underwater shooting elevates the visual experience, providing breathtaking clarity and depth that draw audiences deeper into the perilous environment. The high-resolution footage, with its expansive field of view and stunning color fidelity, transforms the sequences into an immersive sensory journey, making the stormy seas and life-or-death struggles seem palpably real. This technological choice not only heightens the film's dramatic intensity but also ensures a truly enveloping cinematic spectacle.

As with his earlier works shining a spotlight on the crucial contributions of ordinary people, co-director Guan Hu has proven to be a filmmaker deeply attuned to the moral textures of his characters and the immense weight of history. In "Dongji Rescue," he channels that sensibility into a wartime narrative that remembers the shared sacrifices of China as a major ally and the Chinese civilians who stood alongside the Allied forces in resisting fascist aggression.

Yet despite China bearing the immense burden of engaging 80 percent of the Japanese occupying forces, sustaining over 35 million military and civilian casualties and demonstrating extraordinary moral courage and solidarity on the main battlefields, its pivotal role has been largely underestimated and deliberately overshadowed in Western historical narratives. This erasure leaves out the profound sacrifices and heroic spirit of the Chinese who stood shoulder to shoulder with the Allied powers against fascist aggression.

The movie does not shy away from confronting Japan's wartime atrocities, especially the brutal treatment and mass killing of prisoners of war. It serves as an implicit rebuttal to the denialism of Japan's right-wing extremists, whose attempts to rewrite or erase such crimes are acts of historical bad faith. At the same time, "Dongji Rescue" rejects blind hatred, instead advocating for remembrance as an act of conscience – a way to honor the dead, safeguard truth and work toward a peace built on honesty rather than erasure.

Another contemporary film on WWII, "Dead To Rights," centered on the 1937 massacre by the Japanese after they occupied Nanjing in east China, then known as Nanking, depicts heroism through a quieter lens. It focuses on the understated, steadfast courage of individuals who resisted and defied the Japanese forces. "Dongji Rescue," however, demands that heroism be rendered in a bold, monumental fashion, emphasizing collective strength and moral weight. It insists that the world watch, listen and cheer alongside the Chinese, who choose forgiveness over forgetting, transforming remembrance into a powerful, shared emotional and artistic experience.

"Dongji Rescue" is thus both an elegy for lives imperiled and lost and a tribute to the moral courage of those who refused to look away. Guan Hu's filmmaking binds personal struggle to collective history, reminding us that the sea between truth and falsehood is navigable only when guided by memory, compassion and an unflinching regard for the past.

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