‘The Dating Game’ Review: Forever Alone Bachelors Cultivated by China’s Former One-Child Policy Get Some Generic Pity in Unfocused Doc

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For approximately four decades, China implemented a one-child policy aimed at controlling population growth and improving the economy. More recently, this policy has been abolished. The effects of this change will be experienced for many years to come, and they are evident in dating apps that are commonly used by today’s singles. Violet Du Feng’s documentary “The Dating Game” explores this short-lived but crucial online world where relationships are formed and people can be left feeling rejected. However, the film’s brief 89-minute runtime leaves it struggling to portray heartbreak effectively and may make it feel overshadowed by the political implications of its subject matter.

The movie starts by highlighting an imbalance in China’s population, as there are significantly more men than women. This leads us into the intense dating market for males, particularly in Chongqing. A group of three bachelors – Zhou, a somewhat shy man in his late thirties yearning to return to rural life, Li, a cheerful stoner type, and Wu, a reserved individual who values honesty but struggles to find time for dating due to work – seek help from a dating coach. Their guide is Hao, a married man who claims he won his wife using his own strategies, although deception seems to be the main method in his teachings.

In the world of dating, they say being kind doesn’t cut it – you need to offer value to catch someone’s eye. That’s exactly what Hao’s seven-day makeover is all about in “The Dating Game.” It starts with fresh hairdos and carefully arranged photo shoots, followed by some cleverly manipulative direct messaging. Most of these encounters play out like a mindless montage, spiced up with quick-witted banter. Unfortunately, the whole thing is drowned in an overly bouncy soundtrack, more fitting for a cheerful cruise ship advertisement than the bitter taste of rejection. As a cinema enthusiast, I can’t help but feel that this could have been a poignant tale, but instead, it feels like a commercial for a happier time.

These men aren’t just creating bogus personas with confidence, they’re also instructed to be indiscriminate in their romantic pursuits. Hao advises them to match with every profile on dating apps and even suggests approaching numerous women at shopping centers randomly. The mentor is frank about his negative view of these men, yet he maintains a sense of kindness: “They shouldn’t miss out on love.

The rehabilitation boot camp for masculinity isn’t based on groundbreaking concepts about human communication in the digital era. Although “The Dating Game” is cautious enough to avoid passing judgment on Hao’s deceptive strategies, it merely presents them as one of several tactics in the dating world, without ever testing their effectiveness. It appears that the production team was not granted access to these bachelors’ actual dates or online conversations; instead, they are described in predictable post-date criticisms, with Hao repeating his teachings while the other men either nod in agreement or shift uncomfortably.

Amidst the boundaries set for delving into romantic struggles, Hao becomes the most captivating character in this documentary. A side story suggests his past: moving from a humble financial background to pursue self-improvement and urban life. However, the cracks in his persona are most noticeable during peeks into his personal life. His wife is a women’s lifestyle coach, and their discussions often lean towards contentious gender stereotypes. The documentary seems content with revealing Hao’s vulnerable side, but it avoids delving deeper into his marriage and profession. Questions that remain unanswered include how much he charges for his advice, and the circumstances under which they both entered the same field.

In “The Dating Game,” not a lot transpires, mirroring the limbo-like experience of contemporary dating, but it also suggests that there’s little narrative substance present. One might ask if Hao has ever found success in his self-employment. The documentary, restricted by Hao’s perspectives, loses credibility as it progresses, getting sidetracked by a string of superficial detours to encompass broader China. It briefly includes clips from popular animated boyfriend games, claiming they have captivated millions of women, but swiftly moves on without delving deeper into the statistic. Later, it awkwardly highlights that military service is one of the few options for economically disadvantaged men to improve their lives – a disheartening social trend, though not exclusive to China. The cultural aspects remain unexplored. These journalistic instincts seem compulsory and hastily fulfilled; the initial, aimless reality TV aesthetic seems more enlightening about human nature.

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2025-01-24 09:21