In December 1937, the city of Nanjing was thrust into an unimaginable nightmare. During what has become known as the Nanjing Massacre, Japanese forces captured the Chinese capital, committing atrocities that left tens of thousands dead and countless others traumatised. This dark chapter of history, filled with destruction, brutality, and human suffering, provides the setting for Dead to Rights, directed by Shen Ao. The film is a heartrending exploration of survival and moral courage in wartime. Inspired by true events, the film follows the story of A Chang, a young postman whose ordinary life becomes entangled in extraordinary violence and ethical peril.

The film opens as Japanese forces tighten their grip on Nanjing. A Chang (Liu Haoran) misses the last evacuation and finds himself trapped in the city. Mistaken for an apprentice in a photo studio seized by the occupying army, he assumes the role to survive. It is within this small space that the tension of the story develops: beneath the studio’s floorboards, families and other refugees hide from the occupying soldiers, while above them, the Japanese photographer (Daichi Harashima) documents the city’s devastation, unaware that A Chang is quietly working against him.

I truly appreciate how Shen Ao tells the story with care, allowing the history to speak for itself. The horror of the Nanjing Massacre is portrayed in a way that terrifies the viewer, yet forces them to keep their eyes open to the brutality of war. The scene depicting the mass execution of local civilians by the lake is so powerful that I had to look away – the water turning red with the victims’ blood, filled with bodies. It makes you confront how rotten humanity can become in the face of power and greed, where life suddenly means nothing, reduced to an obstacle easily removed.

When A Chang discovers evidence of the atrocities in the photographs he develops, he must choose between preserving his own life and exposing the truth – a dilemma that speaks to the timeless question of ethical responsibility under extreme circumstances. I would be lying if I said the film didn’t make me cry; the final 20 minutes completely broke me. They were powerful, offering a sense of justice, in some ways, to those who survived and fought to ensure the massacre would not be forgotten. It is through images that the world learned about Nanjing, and yet humanity still failed to learn how heartless war can be, or that it is always innocent people who suffer and die. Just look at the world now…

Technically, the film is superb. The set design is exquisite, capturing the oppressive nature of wartime occupation and the fragile sanctuaries hidden within the city. From the dim photo studio to the cramped hiding spaces beneath its floorboards, every environment feels lived-in and real. Costume design reflects the uniformity of the occupiers and the ordinary humanity of the Chinese civilians.

The editing and cinematography are equally impressive. Scenes are framed with a careful precision that conveys the physical danger surrounding A Chang and emphasises the psychological tension of his choices. The camera often moves with fluidity, threading through spaces and crowded rooms, allowing the audience to inhabit the hidden corners where survival is possible but never guaranteed.

The acting is exceptional. Liu Haoran delivers a sublime performance as A Chang, bringing to life a man torn between duty, conscience, and fear. Daichi Harashima’s portrayal of the Japanese military photographer offers a chilling counterpoint: oblivious to the resistance around him, he represents the machinery of oppression and the banality of evil.

Dead to Rights also shows Shen Ao’s ability to bring moral and ethical questions into the narrative. The film is not only about the horrors of war, but also about the choices that describe us, and the courage it takes to preserve truth and compassion in the face of overwhelming danger.

In sum, Dead to Rights is an achievement in historical cinema. With great set design, costumes, fluid camera work, and gripping performances, Shen Ao creates a world that is terrifying and yet very human.

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Written by Maggie Gogler

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