Xiaodan He is a Montreal-based filmmaker and director whose work draws from her experience as a Chinese immigrant in Canada. Having spent over two decades in the city, her storytelling is shaped by the textures of culture, identity, and place. Montreal, My Beautiful follows her first feature and continues in this direction, centring narratives revolve around adaptation and integration. Presented at BFI Flare as its first European premiere, the film brings a distinctly Montreal-set story onto an international stage, while remaining loyal to the specificity of its characters.
It follows Feng Xia, a middle-aged Chinese woman living within a structured routine, defined by long-established habits and expectations. Her days move between domestic responsibilities and a steady, familiar rhythm that leaves little space for variation, or genuine passion. That begins to change when she meets Camille, a younger woman whose self introduces a different tempo and energy to Feng Xia. Through their bond, Feng Xia starts to shift slightly beyond the edges of her existing life, stepping into spaces that feel unfamiliar, yet quietly compelling.
Following the screening at BFI Flare, Xiaodan He joined for a Q&A, reflecting on the film’s origins, its characters, and the thinking behind it. She described the project as a natural extension of her own connection to Montreal – a city she has called home for more than 20 years. Drawing from that proximity, the story takes shape through a lens of lived experience.
At its centre is Chinese immigrant life, approached through a more specific viewpoint: a middle-aged Chinese woman. This perspective, she noted, offered a less commonly seen entry point, allowing the story to unfold in a way that feels registered without detachment from reality. In writing Feng Xia, He spoke of a balance between simplicity and being bold. The character carries a vague confident quality, one that allows her to move forward even in the face of uncertainty. While bound by cultural expectations, family dynamics, and routines, her journey is not packaged through overt conflict. Instead, it unfolds in small progression, through moments of curiosity, subtle changes in behaviour, and a growing openness to the unfamiliar.
For the lead role, He was introduced to Joan Chen through a mutual, long-time collaborator. After reading the script, Chen responded swiftly to the character of Feng Xia and agreed to take on the role. In preparation, she learned French over several months, working with a language coach alongside her other commitments – a detail that reflects the film’s rooted in Montreal’s everyday linguistic-driven landscape.
Writing, Dialogue & Character Tension
He described the script as something developed across multiple drafts, allowing space to refine both structure and dialogue. Her focus remained on precision; keeping exchanges concise, with meaning carried through shorter, more direct lines rather than extended dialogue. Each character’s voice was written with attention to tone and manner, giving them distinct flavour and ways of speaking. With limited rehearsal time, He relied heavily on instinct during filming, making quick decisions while staying closely anchored to the script.
When speaking about the lead character, Feng Xia, He noted her constant swaps between hesitation and action. There is an awareness of the unknown, but also a steady pull forward; not toward resolution, but toward motion itself. That balance snugs quietly at the core of the film. The film lingers on small decisions, subtle gestures, and moments of pause.
At the end of the day, Montreal, My Beautiful remains a constant reminder – never overstated, yet always there -telling a story that moves gently, favouring its natural shifts over dramatic turns.
The 40th BFI Flare: London LGBTQIA+ Film Festival takes place 18th–29th March at BFI Southbank.
