Fan Bingbing beats Leonardo DiCaprio to top China's Douban web search for 'Mother Bhumi'

Many tell we’re busy googling for screen shot of FBB’s nude scenes in this movie

Have you forgotten what kind of country Tiongland is?

All their domestic Internet content is specially censored and curated. Weibo, Toutiao etc. Nothing is real or organic in that shithole of a country, offline or online.

I was one of them.
Never heard leonardo got new movie. Even if he got one, i wont bother. Its all hollywood propaganda brainwash zionist movie.

Her younger bro is actually her son. She nev admit.

syed putra said:

I was one of them.
Never heard leonardo got new movie. Even if he got one, i wont bother. Its all hollywood propaganda brainwash zionist movie.

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东京争影后 范冰冰走红毯半小时​

（东京28日讯）范冰冰走红毯，走了超过半小时。

《第38届东京影展》昨日隆重开幕，范冰冰随马来西亚电影《地母》剧组踏上红毯，以一袭复古黑白礼服惊艳全场。红毯上她亲切停下脚步，沿路为热情影迷签名、合照，风采迷人。更特别的是，主办方特意为她开路，让她在红毯上停留超过半小时，展现“红毯女王”的超凡魅力。

范冰冰与张吉安导演、香港演员许恩怡及台湾演员白润音等人一起走东京影展红毯。（取自张吉安脸书）

此次范冰冰不仅以《地母》入围主竞赛单元，更在开幕仪式上连换两套礼服——先是典雅黑白造型，后换上缀满水钻的贴身长裙，尽显玲珑身段，还将单肩斗篷巧妙披作头纱，造型百变，女神气势十足。

15年前曾凭《观音山》在东京封后的她，在《地母》首映礼上感性说道：“特别感谢今年到场的观众，日本是热爱电影的国家。15年前我在这里封后，15年后再次带着新片站上这里，有很多感慨。”

她也提到自己作为中国演员，参与马来西亚电影的奇妙缘分，讲到动情处更一度哽咽。

范冰冰在红毯上为疯狂的影迷签名甚至合照，走了超过半小时。（取自范冰冰IG）

范冰冰为《地母》下足苦功，不仅学习马来文、福建话对白，还亲自体验耕作，双腿被蚊子叮了上百个包，敬业精神令人佩服。

她与导演张吉安、演员白润音、许恩怡等剧组人员一同亮相，尽管脚踩厚底高跟鞋，仍全程保持微笑，展现亲和力。

《地母》在影展开票半小时内，3场首映票全数售罄，可见观众期待之高。

昨晚世界首映结束后，影展策展人特别赞赏影片独特的叙事与艺术成就，也有影评认为范冰冰“洗尽铅华，撑起整部电影”，演绎极具挑战性的“女巫”角色，成为全场焦点。

‘Mother Bhumi’ review: Fan Bingbing impresses in atmospheric, overstuffed 90s-set Malaysian drama​

Director Chong Keat-aun’s Tokyo premiere is an uneasy blend of political commentary and supernatural mysticism

By Elizabeth Kerr
29 October 2025




Source: Tokyo IFF

‘Mother Bhumi’
Dir/scr: Chong Keat-aun. Malaysia. 2025. 129mins

Malaysian director Chong Keat-aun mixes history, ethno-religious diversity, female body autonomy and supernatural mysticism to compelling if sometimes diaphanous effect in his fourth feature, which premieres in Tokyo competition.

Set in a multi-ethnic village on the Thailand-Malaysia border in 1998, a politically fraught time in many parts of Asia, the ambitious Mother Bhumi navigates the thorny legacy of colonial policy in a story about a widowed rice farmer and shaman healer attempting to help her neighbours with their emerging land claims.

Chinese superstar Fan Bingbing is almost unrecognisable in the central role of Hong Im. It’s a refreshing change of pace for the actress, known better for the gloss of films like The 355 and I Am Not Madame Bovary, and has secured her a Golden Horse nomination for best actress (one of eight the film has received, including best director and best narrative feature). Lushly photographed, frequently mesmerising in its deliberate quietude – thanks in part to a thrumming, bassy score by Chong and Yii Kah-ho – and undeniably thought-provoking, Mother Bhumi’s reach too often exceeds it grasp to cohere as a single narrative.

That does not mean the film is without considerable merit, or is ever less than watchable. Chong has been down this thematic road before, and is arguably among Malaysia’s most vocal cinematic social critics. With films like Pavane For An Infant (2024), Snow In Midsummer (2023) and The Story Of Southern Islet (2021), Chong has never shied away from exploring the inherent conflicts within Malaysian society, and that reflectivity – together with Fan’s name above the title – should secure Mother Bhumi significant festival play. Distributors with a track record of nuanced art house indies, or Chong’s earlier work, should also take note.

The story begins with Hong performing a healing ritual on a pregnant woman, one of the many roles she play in her rural Kedah district village in Malaysia’s Bujang Valley. Later, the woman is hit by a truck and killed in what turns out to be a crucial moment.

The film’s late nineties setting is a time of economic crisis and political volatility that saw the departure of deputy prime minister Anwar Ibrahim (who is now the country’s current PM) following controversial sodomy charges and widespread demand for reform. Among those are calls to address the impact of a 1909 treaty made between the UK and the former Kingdom of Siam (now Thailand), which established the modern border between Thailand and Malaysia and ceded a swathe of southern Thailand to the British. In 1998, the Malaysian government is in the course of reclaiming the land for native Malays. Hong’s friend Har (Pearlly Chua) is one of many residents that have held land for generations and are now in danger of it being taken from them if they don’t sell and move away. Hong’s deceased husband worked at the land bureau, so she thinks she may have some sway.

When she’s not doing paperwork, Hong is a healer and, essentially, exorcist, banishing demons from Buddhist, Confucian or Muslim sufferers in equal measure. Her children react differently to her shaman work, with her vaguely racist daughter Boon (Natalie Hsu, who like Chua co-starred in Pavane) dismissing the rituals and lambasting Hong for neglecting her in favour of “them.” Son Koon (Bai Run-yin) is, however, following in her shamanistic footsteps. Late in its third act Mother Bhumi takes a turn for the overtly supernatural, introducing a story thread involving Hong’s dead husband – who may or may not be possessing the family buffalo – and a dark secret that brings the story full circle in a ghostly finale.

Chong is adept at locating the intersections of nationality, religion and ethnicity, but here the connection he tries to make between land rights and women’s autonomy is a tenuous one. In weaving together the magical and the realistic, Chong muddies the waters and unintentionally dilutes messages that may work better in two distinct films.

Comprised almost exclusively of medium and long shots (including a tremendously evocative overhead sequence of Har being healed), cinematographer Leung Ming-kai’s compositions capture the beauty of the green fields and rice paddies, and provide a physical context for the action. Yet the political backdrop is less illuminated, and anyone with only a passing knowledge of the history of the region could be at a loss. The secret weapon here is Fan; working in the grittier mode she demonstrated in Green Night (2023), she ably carries Mother Bhumi to its enigmatic conclusion.

Production companies: Janji Pictures

International sales: Rediance, [email protected]

Producers: Wong Kew-soon, Stefano Centini, Zoey Teng,

Cinematography: Leung Ming-kai

Production design: Soon Yong-chow

Editing: Erik Moh

Music: Yii Kah-hoe, Chong Keat-aun

Main cast: Fan Bingbing, Natalie Hsu, Bai Run-yin, Pearlly Chua

冰冰 for president of tiongcock!