Directed by: Jan P. Matuszyński
Starring: Marcin Dorociński, Daxing Zhan, Natalia Bui, Ewelina Starejki
Rating: ★★★★☆
The mourning of a child’s death, even within fictional cinema, remains a profoundly sensitive subject to portray on the big screen. While it must be approached with great sensitivity, this does not preclude a filmmaker from pursuing originality. In his most recent film Jan P. Matuszyński delves into the profound grief of losing a child by weaving it together with the Chinese tradition of ghost marriage called “Minghun” against a Polish background.
The story follows Jurek (Marcin Dorociński) and his Chinese Scotland-based father-in-law Ben (Daxing Zhang) as they cope with the tragic death of Jurek’s daughter Mei-Xiu “Masia” (Natalia Bui)—killed in a car crash after a Chinese New Year party. In their mourning, Ben tries to convince Jurek to find a young “dead husband” for Masia and celebrate a marriage-funeral between the deceased. This ritualistic
journey leads them into surreal and often absurd situations.
Although initially hesitant, Jurek ultimately consents, only to discover that the path ahead is far more intricate than he imagined. It’s not until a serendipitous twist, reminiscent of Kieślowski’s storytelling, that the ritual becomes attainable. Matuszyński’s film draws a stark contrast between Western portrayals of grief—marked by painful resignation, as seen in works like Nanni Moretti’s The Son’s Room (2011) and Kenneth Lonergan’s Manchester by the Sea (2016)—and Eastern traditions, where mourning is processed through ritual and ancestral continuity.
The Polish director, who first gained acclaim with The Last Family (2016), a fresh biopic on the dystopian painter Zdzisław Beksiński, explores in Minghun the unsettling practice of ghost marriage, portraying it as a disturbing commercial enterprise. This is embodied in the character of Ben, who is willing to spend a substantial amount of money to secure the most suitable deceased groom for Masia. Reports have indicated that a black market for corpses, particularly female ones, exists in several provinces of China.
Matuszyński brings a piece of China to the Baltic Sea in the film’s poetic finale, which evokes both destruction and transcendence. Minghun also serves as further evidence of the flourishing artistic collaboration between Matuszyński and cinematographer Kacper Fertacz, whose creative synergy continues to thrive. The film is enhanced by a measured yet intense performance by Dorociński, who appears perfectly at ease even when acting in English. It is all the more surprising that Minghun has yet to receive any awards, despite its artistic merit and critical depth.
Film Reviewed by Giuseppe Sedia
Published by Kino Mania on July 28, 2025