Taiwan’s politics has always included a range of issues such as relations with mainland China, sovereignty, democracy, and human rights. These issues have sparked significant debate and activism within Taiwanese society, driving movements for greater autonomy, democratic reforms, and social justice. 

Looking at the cinematic narratives, some stories combine personal lives with politics in a well-balanced way and Who’ll Stop the Rain is one of those stories. This moving film by Su I-Hsuan (When the Sun Don’t Shine, Detention), masterfully mixes the elements mentioned above; it also explores a key moment in Taiwan’s history while showing how individuals cope with their own struggles and dreams.

Through the lens of student activism, gender politics, and LGBTQIA+ rights, Who’ll Stop the Rain paints a powerful portrait of societal disturbance and individual liberation. At the heart of the story is the complex connection between Chi-wei and Ching, two people trying to understand themselves in a changing world. The film is also a great reminder of the enduring quest for freedom and self-expression.

At the 38th BFI Flare: London LGBTQIA+ Film Festival, we engaged in a conversation with the filmmaker, discussing Taiwan, its LGBTQIA+ community, and the film itself.

View of the Arts: Your film Who’ll Stop the Rain dives into the intertwining of personal and political narratives during a very important time in Taiwan’s history. What inspired you to explore this specific period and theme? 

Su Yi-Hsuan: After the lifting of martial law in Taiwan in 1987, the 1990s witnessed a flourishing era of democratic movements. Young people envisioned a new nation, a new era, brimming with hope and anticipation for the future. While writing this script, I did a lot of field surveys. At that time, most protests had political demands, but in the film, the students’ protest revolves more around personal “creative freedom.” As a creator, I believe that one’s creations represent oneself, one’s personality, and the messages one wishes to convey. This aspect delves deeper into the individual’s inner part.

VOA: The movie addresses issues of student activism, gender politics, and LGBTQIA+ rights. How did you approach balancing these various themes within the narrative?

SYH: I believe that student activism, gender politics, and LGBTQIA+ rights are all parts of social issues. They embody the imagination of politics, human rights, and freedom. Within the context of my own creative narrative, I aim to depict the lives, identities, and personal growth of individuals (or characters) within the framework of their times and social backgrounds. Therefore, whether it’s Chi-wei, Ching, or even Kuang, their personalities and identities are conflicted within such a backdrop. My concern is their personal journeys from an individualistic perspective.

VOA: Could you elaborate on the significance of the title Who’ll Stop the Rain and its metaphorical implications throughout the film?

SYH: When I wrote this screenplay, I looked at numerous references and sought out music to immerse myself in the story. The song Who’ll Stop the Rain emerged as a significant choice. Originally released in 1970 as an anti-war anthem during the Vietnam War era, it symbolised the struggle against conflict. The rain in the song serves as a metaphor for bullets, questioning who can halt the destructive forces of war. However, for me, this song brought images of passionate protest and the resilience of people in their fight for justice. It also represented the harsh realities of the world and the social environment.

In the context of Zen Buddhism, there is a concept of “transformation,” which emphasises maintaining a positive outlook even in the face of adversity. While we may not be able to stop the rain, we can still find joy and purpose in life. This idea resonates with the character Wei, who personifies the belief that although we cannot change the world, we have the power to choose how we live.

VOA: The characters in your film undergo complex emotional journeys, particularly Chi-wei and Ching. What were some of the challenges you faced in portraying their inner struggles and relationships on screen?

SYH: For me, both Chi-wei and Ching feel like parts of myself. When depicting their inner worlds, I often find there is a conflict within myself. I also need to be very honest when facing this internal struggle. As shown in the film, your characters reflect who you are; creation is sincere and reveals your true self.

In Taiwan during the 1990s, LGBTQIA+ issues remained taboo and largely hidden. Depictions of lesbian characters often ended tragically, with either suicide or forced heterosexual marriages. Initially, Ching’s storyline in the screenplay leaned towards a sad ending, reflecting the cultural restrictions of the time. However, with Taiwan’s legalization of same-sex marriage in 2019, I questioned whether, nearly three decades later, we should still adhere to the tragic narratives of the past. Is there a way to make the story more relevant to contemporary audiences?

In subsequent revisions, I created Chi-wei’s character to resemble that of a modern Taiwanese woman. She does not perceive her feelings for Ching as wrong or forbidden, nor does she undergo a process of self-denial or seek validation. Instead, she follows her heart, aiming to serve as a metaphor for contemporary women breaking free from the constraints that once confined Ching thirty years ago. The message is clear: we no longer need to dwell on tragic narratives.

VOA: The use of colour, particularly the dominance of blue in the cinematography, adds depth to the emotional landscape of the film. Can you discuss the decision-making process behind the visual aesthetics and how it intensifies the storytelling?

SYH: Because the story is set in 1994, I wanted the visuals not to be too sharp or digitalised. So, when discussing with the cinematographer, we decided to shoot with a higher ISO value to give the footage a grainy texture, and we used filters to soften the overall look. We ultimately chose a slightly blue tint because blue carries a sense of melancholy and repression, resembling the colour of youth. There are many water motifs in the film, blue was a suitable choice for me.

VOA: Music often plays a crucial role in conveying emotions in films. How did you collaborate with composer Thomas Foguenne to create a score that complements the narrative without overpowering the performances?

SYH: In fact, none of my previous short films or television works have featured musical scores. Incorporating music requires very careful consideration for me because people tend to be more sensitive to it. Therefore, I prioritise the performances of the characters as much as possible. Thomas and I share a similar mindset in this regard – we both see music as a supporting role, and even the absence of music is a form of expression itself. That’s why, during many moments of Chi-wei and Ching, I prefer to leave space for them, allowing for quiet scenes without music. These moments are particularly important to me as they enable a deeper focus on the emotional dynamics and chemistry between the two characters.

VOA: The film draws parallels between the fight for democracy and the journey of self-discovery, especially regarding one’s sexual identity. How did you navigate this intersectionality in the storytelling?

SYH: As I mentioned, I believe that the theme of “creative freedom” ultimately comes back to the individual. Therefore, external protests serve as a trigger for me. What I care about is the personal enlightenment of the people (characters) within the revolution (protest). Their participation in this protest leads to changes in their lives. External protests may come to an end, regardless of the outcome, but the internal struggles of individuals continue. Thus, external protests act more as a catalyst, catalysing the internal revolution of individuals. This is likely the direction in which I will approach my creative work [in the future].

VOA: The performances of Lily Lee and Yeh Hsiao-fei are superb. What was the casting process like, and what qualities were you looking for in your lead actors?

SYH: I’ve previously collaborated with Lily Lee, so I understand her personality and performance style well. That’s why I specifically invited her to audition for this project, feeling that she was well-suited for the role of Chi-wei. As for Yeh Hsiao-fai, it was my first time working with her. However, to be honest, casting for the role of Ching took more time. This character’s temperament and charisma were challenging to find among young actresses in Taiwan. I spent a lot of time Googling Taiwanese actors, and when I saw a photo of Hsiao-fei, she closely resembled the image of Ching I had in mind. So, I decided to cast her and asked her and Lily Lee to audition together. They are both new actresses in Taiwan, but casting for me is mostly a matter of intuition.

VOA: Who’ll Stop the Rain touches on Taiwan’s complex history and the country’s ongoing struggle for autonomy. How do you see the film contributing to the discourse on human rights issues, both in Taiwan and globally?

SYH: For me, I hope that my film can capture the essence of the land, era, and history in which I live. I believe that Taiwan’s political reality and historical context are unique, yet they also resonate with universal values and emotions shared worldwide. I couldn’t say I claim any significant contribution to the audience, but perhaps through this film, audiences worldwide can better understand Taiwan.

VOA: As a filmmaker, what message do you hope viewers will take away from the film, particularly regarding the power of grassroots movements and the importance of remembering past struggles for democracy?

SYH: Traditional Eastern societies often emphasise harmony, collective interests, and societal hierarchy over individual uniqueness. Therefore, the concept of “resistance” needs to be learned, becoming a revolution of oneself and one’s identity. This is a lifetime issue for many Taiwanese people, especially women. I hope this film can empower audiences to strive to become their true selves, whether in society or in love.

Written and interviewed by Maggie Gogler

38th BFI FLARE: LONDON LGBTQIA+ FILM FESTIVAL 2024 Takes Place 13 – 24 March at BFI Southbank and on BFI Player 

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