Riding Alone for Thousands of Miles 2006

As Takata Gouichi (Ken Takakura), an elderly Japanese man, embarks on a journey to mend the fractured relationship with his son Kenichi (Kiichi Nakai), he’s met with resistance from the very person he’s trying to reconnect with. The death of Kenichi’s wife Rie (Shinobu Terajima) had already strained their bond, and Gouichi’s decision to travel from Akita to Tokyo is motivated by a desire to make amends. However, his son refuses to see him, leading Gouichi to seek solace in a video tape left for him by Rie. The footage reveals Li Jiamin, an Nuo opera artist from Yunnan Province, China, vowing to perform Riding Alone for Thousands of Miles in a year’s time. Intrigued, Gouichi decides to travel to the PRC and capture Li’s performance on film, essentially taking his son’s place.

Upon arriving in the village near Lijiang City, Gouichi learns that Li has been imprisoned after a violent altercation over mocking his illegitimate child. Undeterred, he insists on meeting with Li, despite the trepidation of his translator Jiang Wen and local guide Qiu Lin. After navigating the complexities of obtaining clearance from authorities, Gouichi finally gains access to the prison facility, only to find Li in tears due to his deep longing for his son. Moved by this revelation, Gouichi decides to travel to Stone Village to reunite Li with his 8-year-old son Yang Yang (Yang Zhenbo), whose mother had passed away shortly before Gouichi’s visit.

Meanwhile, Rie reaches out to Gouichi, informing him that Kenichi has been touched by his efforts and requests that he return home. However, Gouichi is torn between honoring his son’s wishes and fulfilling his own mission to bring Li and Yang Yang together. His indecision is put on hold as the vehicle breaks down en route to the prison, leaving him stranded with Yang Yang. As they navigate the limestone hills, the boy becomes increasingly anxious about meeting a father he has no memory of. Gouichi chases after Yang Yang, leading them both into a cave where they spend the night.

As the sun rises the next morning, the duo is discovered by villagers and police, who had been searching for them. Gouichi decides to respect Yang Yang’s feelings and allows him to return home. Shortly thereafter, he receives another call from Rie, revealing that Kenichi has passed away, leaving behind a letter expressing forgiveness towards his father. As Gouichi processes this news, he can’t help but feel a sense of closure, knowing that his son had finally found it in his heart to pardon him.

As Gouichi (Gouichi) returns to the prison, a poignant reminder of his past is presented before him - photographs of Yang Yang. Li’s countenance is deeply moved by this emotional connection, prompting him to pledge an unwavering commitment to delivering a remarkable performance. With the musicians and supporting actors poised to take center stage, Li pauses, curious about Gouichi’s decision not to record their collaboration. The reason behind this omission becomes clear as Gouichi reveals that his personal loss - the passing of his son - has rendered recording unnecessary. Despite this, Li skillfully convinces him to reconsider, emphasizing the futility of traveling such a great distance only to abandon their creative endeavor. With hesitation finally overcome, the performance commences, with the camera capturing every poignant moment.

At its core, the film delves into the significance of Gouichi’s journey, weaving together themes of performance and deception, authenticity and its absence in tourist experiences, and the way in which success abroad can seemingly obliterate failure at home. Through this narrative, the movie thoughtfully probes the complexities of human experience, inviting viewers to reflect on their own perceptions of reality and the impact of external influences on one’s sense of self.