Magic is something we often desire and rarely witness.  Ziyuan He firmly believes in the existence of this and uses the medium of film to reveal it to us. In Gungir, the director reminds us that our discovery of the fantastic things in this world is often a choice in perspective. The lesson we also learn from this story is that whether events are good or bad is also a conscious decision we make about the world and the events that transpire. Ziyuan  felt, as did so many of us, that the pandemic was a time wrought with fear and anxiety, yet it was a time in which we found appreciation for those most dear to us. There’s something about the global struggle spurred by Covid-19 that generations born after this time will likely never fully understand. In Gungir, Ziyuan He has captured a universal sentiment in the experiences of a young boy. Gungir was shortlisted at the Beijing International Short Film Festival 2023/NOVA Competition as well as receiving nominations from the 14th Beijing International Film Festival and others. The film has received a deluge of international praise as the work of a remarkable filmmaker. 

Gungnir at Sundance
Gungnir at Sundance

  Starring Cooper Alexander as Leo and Hamonie He (of the Oscar Nominated Shang-Chi and the Legend of the Ten Rings) as Charly, Gungir is a story leveraging stark reality and the type of imaginary thinking mainly reserved for the young. Cooper has a crush on Hamonie and is devastated when it is announced that her family is moving to China to live. In desperation, he makes a wish on his birthday present, an electronic toy of the Norse God Odin’s spear named Gungir, and is shocked when that wish comes true in the form of a global pandemic lockdown. That cosmic benevolence is counterbalanced by the wave of anti-Asian sentiment which accompanies the Covid-19 pandemic in the United States and California, where the film is set. In the throes of young love, Cooper has a rude awakening to the ills of society and the costs (real or perceived) of getting what you wanted. There’s a hopeful tone to Gungir that is strongly supported by the visual language and style of this film, thanks to director Ziyuan and his cinematographer Mufeng Han. The story and the look of Gungir are complex and layered, complementary and enticing. Even when the situation is dire, there is optimism to be found if we look for it. 

Leomax (far left) working with actors on the set of Gungir
Leomax (far left) working with actors on the set of Gungir

  The core of optimism is baked into Gungir by Ziyuan He who felt the directness of the anti-Asian rhetoric in the U.S. during the pandemic but chose not to make this the focus of Gungir. This is not a story about the pandemic even though it takes place during this historic time, this is a story about wrestling with the awakening of love at an early age and how it makes you feel. There is an innocence in Cooper’s view of the world that could only come from such an untainted heart. Ziyuan stipulates, “Overall, I want to make a film that makes the audience feel gentle, with everyone sincerely communicating their emotions. Vague love, belated farewells, unspoken secrets are moments we have all experienced. Film gives me a chance to create a world where I can see many people who can no longer be seen in real life and say a proper goodbye to them. I hope the audience can find the lost time in this film.”

  With stunning authenticity, Ziyuan doesn’t simply display the events of this film, he transfers the emotional state of the characters to the viewer. When Leo and Charly play a game on the front porch of the house, “catching sun” with their socks and sitting on a rocking chair, the intimacy they both feel becomes awkward. They alter their behavior because of this and the camera focuses on their feet, swinging freely, moving in and out of the frame. The shot continues until the boy jumps out of the frame and starts pushing the rocking chair from behind. Just as the girl is about to be pushed out of the chair, the shot ends. Contrasting this sweetness is a long one-shot that takes Leo and Charly inside the house where the announcement of “Kung Flu” is made by the president and Leo contemplates whether his wish caused the approaching lockdown to happen. Ever so subtly and with great artistry, the filmmaker has juxtaposed the wonderment of potential magic against the soft racism of casual comments. Ziyuan He has given the audience much to consider in Gungir; thankfully, he has created a film that is enjoyable to watch over and over. 

Writer : Basil Thomson