Yolo

Story: Du Leying (Jia Ling) is 32 years old, lives with her parents, and has practically withdrawn from social life. She is dissatisfied with her life, and her unhealthy lifestyle has led to her being overweight. She would prefer to stay in bed all day, but her sister Ledan (Zhang Xiaofei) wants her to transfer ownership of the apartment Leying inherited from their grandparents so that her daughter can have a better life. Her cousin Doudou (Yang Zi) also asks her to participate in a television show that follows the lives of people trying to find a job. When Leying then discovers that her boyfriend has cheated on her with her best friend, she moves out and takes a job at a restaurant. Although she still has no prospects, by chance she meets boxing trainer Hao Kun (Lei Jiayin), who isn't highly regarded at the boxing gym where he works because he rarely recruits new members. Leying falls in love with the trainer and actually enrolls in a boxing course. However, life continues to be unkind to her, and she is soon betrayed again. On the verge of giving up, she decides to make a radical change in her life and takes boxing seriously...

Review: I originally had "Yolo" on my list because a boxing drama with a female lead is always interesting, especially since the film leans more towards comedy. Then I discovered it's a remake or reimagining of "100 Yen Love", a film with its heart in the right place that I can highly recommend. Somehow, though, the film disappeared from my radar and only resurfaced thanks to social media. There, the focus was on the remarkable transformation of the protagonist and director, Jia Ling. This led to a controversy, particularly in China, which I'll discuss in more detail later. Ultimately, the only question that matters is: What's the film like? It's safe to say that "Yolo" scores points with its message, taking its time to give the premise a solid foundation. The remake is also more accessible to a wider audience than the original, even if you can't say that it's better for that reason. Probably precisely because the entertainment factor aims to attract as many viewers as possible.

We have our classic "loser" at the center of the story, or simply someone who is unwilling or unable to toil under the rules and pressures of modern society without being allowed to live their own life — an alternative lifestyle that is becoming increasingly popular among young people in China. Leying's problem is that her decision to live at home, drifting through life, makes her at least as unhappy. Later, we learn more about why she chose this path. She is a shy and very kind person who constantly helps others, only to be taken advantage of or betrayed. Circumstances have brought her into a precarious situation. Actress Jia Ling was already not known for her thinness and even gained an additional 20 kg for the film, as she wanted to embark on the character's mental journey. One of the criticisms within the aforementioned controversy was that the weight loss shown in the film contradicts its message of learning to love oneself. I have to disagree, because "Yolo" is primarily about setting a goal and pursuing it relentlessly, as that's the only way to emerge victorious in life. The medium of film thrives on visuals. So what could be more fitting than illustrating this journey through physical transformation?

My criticism lies more with the very abrupt break in the story. It takes an incredibly long time (or at least unexpectedly long) for the film to reach the point most viewers are waiting for. Within its 130 minutes timeframe, the film only gets around to showing us Leying doing everything she can to change her life in the last 45 minutes. Everything before that inevitably feels like an inordinately long introduction. The relationship with the coach, played by Lei Jiayin ("A Writer's Odyssey"), seems somewhat underdeveloped, which didn't bother me too much, however, as it has almost art-house qualities. That is to say, it feels somehow honest, "cooked" gently, and therefore without much drama. Leying's family is also given a few characters who round out the picture of the "loser" within the family. A little more development of the different characters would have been possible given the film's long runtime. The humor, on the other hand, is quite enjoyable; it's lighthearted, which I personally find much more appealing than the slapstick style found in most Chinese comedies. Overall, a cheerful and hopeful atmosphere pervades the film, even though serious and tragic themes are addressed.

The final third of the film revolves around Jia Ling's transformation. The actress and director of "Yolo" certainly didn't need to draw attention to herself in this way, having already achieved a gigantic box office success with "Hi, Mom". Nevertheless, she ventured into this experiment to experience the protagonist's transformation on a mental level as well. And towards the end — the credits offer a glimpse behind the scenes and the fourth wall is broken even before that — you can truly feel the liberation and victory that Leying, or rather Jia Ling, celebrates. The line between the two blurs. I would have liked, however, for the physical transformation to be more woven into the film than just being in the shape of a lengthy, albeit "Rocky"-inspired, montage. But of course, from a logistical standpoint, that was hardly feasible. The film was ultimately shot within a year, during which time the director/actress lost 50 kilos and considerably more body fat, having built up quite some muscle mass. Jia Ling demonstrates gym exercises that most men can't even manage. Is this an unrealistic beauty ideal, as some media critics claim? It surely is completely missing the point: It's about the discipline to realize one's dreams and desires, and if that means becoming a boxer and losing weight, then Jia Ling has achieved something remarkable that simply deserves the utmost respect.

Unfortunately, this arduous journey and the inevitable arrival at the destination are celebrated a bit too extensively. Sure, the viewer needs catharsis, and there are some nice touches, like when the trained boxer marches to the ring, seeing her younger self reflected in the mirror beside her, but such scenes are unnecessarily drawn out. Much more poignant is the reaction of Leying's sister when Leying simply refuses to give up. Jia Ling continues to deliver a strong performance as a shadowboxer, but the fights in the ring, which appear very realistic and barely choreographed, reveal her amateur status and show that she quickly loses control in a real fight. Anyone annoyed of too much spoilers here can rest assured that the story's progression is always predictable — with the possible exception of the mature ending — as it's primarily about the journey itself and the willingness to make sacrifices and persevere for one's goal. "Yolo" manipulates the viewer's emotions much more directly than the original, as is evident in the flashbacks towards the end. Therefore, it doesn't quite reach the level of "100 Yen Love". However, it offers enough unique features and, indeed, an impressive physical transformation to make it a film that can be recommended without hesitation.

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