Zhou Jinghao’s “Girl on Edge” starts strong. A young woman is shown skating in a dimly lit ring, finishing her routine and stopping right in front of the camera. Her face is revealed, full of blood red bruises. This is the first of many indelible images that fill this psychological drama reminiscent of “Black Swan”. Like that thriller, “Girl on Edge” is about a competitive athlete trying to be the best and dealing with her inner demons. The film promises a tantalizing time but ultimately fails to deliver, as nothing that comes after that opening is as clean or cutthroat.
The titular girl is Jiang Ning (Zhang Zifeng) a fiercely competitive skater who’s been going through a demoralizing period in her training. She can’t seem to get it right, never managing to finish a routine without falling. Her tough coach, her mother Wang Shuang (Ma Yili) can’t hide her disappointment. She constantly berates her about her failures. The mother blames the daughter for her own short skating career; she had to give it up when she became pregnant. This fraught situation becomes even more tense when Wang takes on another trainee, Zhong Lind (Ding Xiangyua). Zhong, who’s a worker at the ring and not a professional skater, has talent to spare. Suddenly Jiang has both a friend and a rival.
“Girl on Edge” takes a while to get to the meat of its story: the relationship between the two younger women. The film asks many intriguing questions along the way. Is Zhong out to destroy Jiang or will Jiang self-implode from the pressure to succeed? As the two skaters get to train and play together, they seem to bring out the best in each other. Could the mother/coach have planted Zhong in order to give her daughter a reason to be better?
Though the film doesn’t provide a satisfactory resolution to these threads, the time the audience spends contemplating them is mostly enjoyable. But Zhou’s feature loses its narrative edge in a series of jumbled twists. It seems to be reaching for both a profound, meaningful ending and a “gotcha” subversion to bolster its thriller aspirations.
Still “Girl on Edge” delivers in visuals what it lacks in coherent narrative. The visual storytelling sticks in the memory: full of gorgeous images with metaphorical meaning. Jiang trains in a cast-like apparatus, as if she’s in a cage, or appearing like a marionette doll manipulated by a bigger entity. The blue hued skating rinks and dance clubs Jiang and Zhang inhabit look beguilingly sinister, serving as both dreamscape and nightmarish reality. The skating scenes are full of tension, with every fall and swerve dramatically rendered in fast cut closeups on faces and skates. Cinematographer Yu Jing-pin creates an alluring visual atmosphere for these characters to play in. Additionally all three lead actors are masters of the close up. They can hold a frame well and convey much without saying anything.
“Girl on Edge” promises a psychological drama about mothers and daughters.But in trying to reveal the inner turmoil of its characters, it loses its way. Instead of staying with the characters, it devolves into a jumbled mess of flashbacks, explanations and unsatisfactory resolutions. Zhou’s images remain stronl; if only the script could keep up.
