
Swordsman
1990

1991
Director
Tsui Siu-Ming
Runtime
102 minutes
Average Rating
No ratings yetSynopsis
In a mountainous region in an Asian backwater banana republic, it is said that the descendents of all those buried in its earth will be blessed with fantastic fortune and good health. However, if a special ceremony is not performed on the grounds, then the luck will only last for 24 years. A trio of Chinese Americans decide to venture into these mountains hoping to change their luck; Anna Wong (Moon Lee) is an executive facing a corporate meltdown, Wisely (Chin Ka-Lok) is dying of brain cancer, and UCLA Prof. Chang (Tsui Siu-Ming) is an expert in feng shui. Tin can potentate General Nguen (Yuen Wah) also has designs on the grounds -- hoping to turn his third world, fourth rate country into a superpower. Along the way, the three heroes fall in with a group of local rebels, including the high-kicking Nguen Van Vong (Sibelle Hu).
Overall Score
Fair
Category Breakdown
LGBTQ+ Representation
The film focuses on the central trio's quest for fortune. No non-cisnormative identities or same-sex intimacy are present in the narrative.
Gender Representation
Female characters assert significant agency. Anna Wong manages a corporate crisis, while Nguen Van Vong serves as a high-kicking rebel, subverting male-dominated martial arts tropes.
Racial & Ethnic Diversity
The story centers on Chinese Americans and local Asian rebels. It avoids Western explorer tropes by prioritizing Eastern metaphysical frameworks like feng shui.
Religious & Cultural Diversity
The plot explores post-colonial ambition and regional power dynamics. Traditional local customs and spiritual ceremonies drive the central stakes of the story.
Disability Representation
Wisely is a character facing terminal brain cancer. This diagnosis provides high stakes, though it may function primarily as a plot device to create urgency.
Strengths
Areas for Improvement
AI Analysis
Bury Me High succeeds in de-centering Western perspectives by placing characters of color in positions of high agency. The narrative architecture avoids colonialist storytelling by centering the plot on Eastern metaphysical concepts and regional geopolitical struggles. While the film adheres to traditional 1990s social structures regarding LGBTQ+ representation, it offers meaningful subversions in gender and ethnicity. The inclusion of female combatants and a non-Anglo-centric worldview provides a refreshing departure from standard adventure tropes. However, the representation of disability remains somewhat narrow, potentially using illness as a tool for narrative urgency rather than deep character exploration.

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