Chen Xiao Xin, known as Xiaoxin, penned a book about her experiences in Recife. She composed her memoirs on postcards she stumbled upon in her aunt’s camp, postcards that hailed from the Brazilian coastal city. Xiaoxin’s aunt is an importer, and the box carrying these postcards has traversed a long and winding path.
Xiaoxin, a migrant from Argentina to Recife, bears the phrase “Made in China” inked on her forearm as a form of self-identification. She, like her aunt’s other Chinese employees, cannot converse in Portuguese. They collectively reside on the 18th floor of a skyscraper, bound together by the shared sense of alienation, particularly with Wang Shin-Hong’s character, Fu Ang, whose demeanor is consistently tinged with melancholy.
It’s not until nearly thirty minutes into the film “Dormir de olhos abertos” (Sleep with your Eyes Open) that we first hear Xiaoxin speak. This moment comes long after her character has moved on. The film, directed by Hanover-born Nele Wohlatz, veers off the main path, much like the postcards that find their way into the hands of Kai, portrayed by Liao Kai Ro. Kai, a young Taiwanese woman, finds herself in Recife unintentionally after a breakup and struggles to communicate with the locals.
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Kai, despite not yet knowing Xiaoxin personally, identifies with her through the feelings expressed in the postcards. She takes it upon herself to locate Fu Ang and deliver Xiaoxin’s messages to him. Their paths had briefly intersected before they lost track of each other.
Disunity among Chinese migrants
The shared experiences of these characters form the central theme of “Dormir de olhos abertos.” Wohlatz, who resided in Argentina for twelve years, closely observed the internal struggles of Chinese migrants while filming her award-winning debut, “El Futuro Perfecto”. Her experience culminated in the creation of a beautifully whimsical film.
Fu Ang, at one point, laments about the rapid transformation of cities in China. However, his desire to return home and gain wealth intensifies. Wohlatz’s characters are fueled by such dreams, but her film doesn’t delve deeply into these aspirations.
Instead, the film captures fleeting moments of solitude: lounging by the pool, city explorations, crafting paper flowers, and reminiscing about someone who you believe you know. In its poetic subtlety, “Dormir de olhos abertos” establishes a sense of intimacy that overpowers the feeling of estrangement.
The postcards, originating from China and reaching Brazil only to be dispatched again across the globe, serve as a poignant metaphor for the migrant experience. Wohlatz intertwines yet another narrative within this story.
