She’s Got No Name: Zhang Ziyi, Yang Mi and Zhao Liying’s bold bid for a breakthrough

Zhang Ziyi plays Zhou Zhanshi, a woman who murders her husband in Xiang Yuan Alley and proceeds to dismember his body. The narrative follows the unfolding investigation into the case, while also shedding light on the shifting tides of the time and the lives of those on society’s margins.

Still images from the production reveal Zhang Ziyi in a striking transformation. Clad in a blood-soaked cheongsam, she wears a hollow, haunted expression, a reflection of a woman long crushed by the weight of a feudal world.

In addition to Zhang Ziyi, the ensemble cast delivers a fresh look and feel in their roles. Yang Mi portrays Wang Xumei, a woman imprisoned for shielding a criminal. Zhao Liying, meanwhile, plays Xilin, a character loosely inspired by the writer Su Qing of the Republic of China, who becomes determined to pursue Zhou Zhanshi’s case as a way to reclaim her voice and career.

With its engaging storyline and a cast of major stars, the film holds strong promise at the box office. Adding to this is director Peter Chan Ho-sun’s reputation, having previously helmed both commercially successful and critically acclaimed titles such as Comrades: Almost a Love Story (starring Maggie Cheung and Leon Lai), Perhaps Love (with Zhou Xun and Jin Cheng Yu), and Dearest (featuring Zhao Wei and Huang Bo). Yet She’s Got No Name is not without risks that could stand in the way of its expected success.

A key concern lies in its two-part format, which might interrupt the viewing experience and impact its overall revenue. The first instalment focuses on the investigation and the early stages of the trial, gradually introducing each character. The second part shifts to the verdict and follows the fate of the individuals, all set against a backdrop of historical upheaval.

Years ago, Zhang Ziyi took part in The Crossing, a film that bears certain resemblances. It, too, was set during the Republic of China period, unfolded across two parts, and featured a star-studded cast including Huang Xiaoming, Song Hye Kyo, Tong Dawei and Takeshi Kaneshiro. Despite these elements, The Crossing failed to make a mark commercially and drew lukewarm critical reception. The comparison has raised concern among both industry insiders and audiences—The Crossing attempted a sweeping narrative but fell short, while She’s Got No Name narrows in on a single case.

The film also went through several rounds of editing before its theatrical debut this year. According to director Peter Chan, the full runtime of She’s Got No Name stretches to four hours. However, when a 150-minute version was screened at Cannes last year, it received only modest reactions from viewers and critics. Many pointed out that the film sidestepped the procedural aspect of solving the case and instead lingered on the personal struggles of the characters amid social transformation, which led to a slow pace and a sense of distance from mainstream audiences.

Industry observers note that She’s Got No Name could serve as a pivotal moment in the careers of three celebrated actresses—Zhang Ziyi, Yang Mi and Zhao Liying.

Zhang Ziyi, one of China’s renowned “Four Great Actresses”, has long maintained her stature, though her recent career has lacked defining highlights. Her first historical television drama, Shang Yang Fu, received a lukewarm response and underperformed in terms of impact. In March 2025, the third season of the reality show Actors, Please Take Your Places, where she served as a judge, was also temporarily pulled from air. Even in cinema, her signature domain, Zhang Ziyi has not delivered a widely talked-about role in recent years.

Encouragingly, her performance in She’s Got No Name has drawn praise from Chinese media. Without relying on overt dialogue or theatrical expressions, she conveys the inner anguish of her character through subtle, arresting glances, each charged with resentment, endurance and quiet defiance. Through this, she successfully portrays a woman trapped in a feudal world, trying, however silently, to rise above her fate.

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Meanwhile, for the two “post-‘85 generation” actresses, Yang Mi and Zhao Liying, their performances in She’s Got No Name may help solidify their standing and increase the likelihood of being cast in high-calibre drama productions, rather than being typecast in historical or contemporary romance roles.

In Yang Mi’s case, she is in need of a compelling role to win back the trust of audiences and critics after a string of underwhelming projects released in 2024, including Fox Spirit Matchmaker: Moon Red, Harbin 1944 and Nothing Can't be Undone by a Hotpot. At present, she is turning towards projects with more emotionally layered roles, such as All Creatures Great and Small and Omameda Towako and Her Three Ex-Husbands, the latter being a remake of a Japanese film of the same name.

In truth, the actress attempted a shift in her screen image with the 2018 film Baby’s Treasure. hoping to compete for acting awards, but to little success. Directors Liu Jie and Zhang Li—who worked on Baby’s Treasure and In the Name of the Brother respectively—have openly commented on what they see as enduring limitations in Yang Mi’s acting. For this reason, even in a supporting role in She’s Got No Name, a strong performance could mark a turning point in how she is perceived by both the public and the press, potentially unlocking better-quality opportunities in future.

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Zhao Liying, on the other hand, has already begun her transition with two well-received television dramas, The Story of Xing Fu and Wild Bloom in Banxia, along with a supporting part in the film Article 20. These projects not only brought commercial success but also garnered her significant awards, including Best Actress at the 34th Flying Apsaras Awards and Best Supporting Actress at the 2024 People's Hundred Flower Award.

However, her career momentum appears to be slowing. Her last three films, Agneepath, The Unseen Sister, and We Girls, fell short of revenue expectations, and critics noted a lack of narrative depth. Her recent TV drama What a Wonderful World also struggled with low viewership and limited audience engagement. According to media reports, beyond weaknesses in the scripts, Zhao Liying’s characters in these productions share overly similar traits, contributing to viewer fatigue. In this context, her portrayal of a female writer from the Republic of China era in She’s Got No Name, although a secondary role, could offer a refreshing change and help her reconnect with audiences.

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