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Earlier, she also appeared in Jia Zhangke’s (2000) as an actress.
There's perhaps no better example of this in Tinseltown than Jane Fonda, whose storied acting career of starring in boundary-pushing films like Coming Home, Klute, On Golden Pond and Barbarella as well as, most recently, the hit Netflix show Grace and Frankie, is complemented by her history of activism, ranging from speaking out against the Vietnam War and violence against women to promoting adolescent reproductive health and women's visibility in the media.
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In IFFR 2013, some adored this film as a daunting portrayal of a well-off desperate housewife hungry for unattainable sex and the explicit sexual scenes in her wild dreams were just unprecedented in Chinese cinema – this film showed the sexual audacity and awkwardness of the rising new rich, the emptiness of a fidgeting soul and the impossibility of self-help at a certain period of one’s life, by a female director, from China – it was a breath of fresh air.
Some disliked it because the series of repeated wet dreams just seemed endless and there were better ways to solve a woman’s pent-up sexual desire, other than turning to various superstitious resolutions, also, the representation of the husband looked too impotent, at some point even ridiculous – it was suspected to draw a derogatory picture of the Chinese people, only to cater for western imagination, like what a number of previous award-winning films had done.
To quote one of the programmers in IFFR that this film is a total new voice, unheard in previous male-dominant Chinese cinema; that it depicts the conflicts between capitalism and communism, between the urban and the rural; that it explores the contemporary female lives and their desires.