Bao is a computer animated short film produced by Pixar Animation Studios in 2018. The film focuses on a lonely and aging Chinese-American mother who suffers from empty nest syndrome. She is unexpectedly granted a second chance at motherhood when a steamed bun (baozi) that she made comes to life. Writer and director, Domee Shi, stated in an interview (Shi, 2018) that she wished to share “all of the things she cared about” as well as “put a little bit of myself” in this short.

It was also a very clever of Shi to title the movie ‘Bao’ as it is also a play on words. In Chinese, BǍOBÈI (宝贝) and BǍOBǍO (宝宝) are used as terms of endearment, most commonly by mothers when referring to their children (Wang, 2016). BǍOBÈI meaning “treasure” and BǍOBǍO meaning “baby”. And, even though the “Bao” that Shi refers to is known as Bāozi (包子), meaning dumpling, or even Miànbāo (面包), meaning bread; you could view “Bao” as a homophone for both the term of endearment as well as the actual food. in conjunction with further amplifying the mother’s love for the Bao, this knowledge allows the audience to discover a better understanding of how deep a mother’s devotion and affection can run for her child.

 

A defining reason that Shi wanted to tell a story like Bao was because of her Asian heritage/influences, combined with the current lack of Asian representation in the media. This, however, does not mean it cannot apply to a wider audience. Despite the cultural specificity of the film, the universal theme of parents learning to let go of their children yet remaining bound together by food allows the experience to transcend culture and language, forming a “potent emotional resonance” (Macabasco, 2018). This is also why there is no dialogue throughout the film; relating it to the audience through acting and emotions alone. This closely follows the Chinese principle that love is expressed through actions rather than words.

 

In Asia, it is tradition to live with your parents (sometimes even grandparents) as it is a sign of respect towards your parents; they care for you when you were younger, now you care for them. However, this is a tradition that is being practiced by fewer people in modern Asia. Originally, many families would choose to live together in order to save money. But now, with the younger population becoming more educated and thus working in higher paying careers, families are becoming wealthier and thus they might desire to live in separate, more spacious living spaces. Another reason for moving out is due to western influences. This most commonly occurs in immigrant families, when the children grow up with, or have been exposed to western influences. Because there is no tradition of living together in western culture, the children will adopt these values. However, this single ideal is not the sole cause for immigrant children moving out. Sometimes, parents realise their values and morals greatly differ from those of their more western children and the cultural gap causes them to drift apart. Although Shi never explicitly mentions it, there are hints within the film that this is the case between the mother and son. For example, when the Bao returns home with a Western partner, the mother is shocked and freezes, seemingly unable to process this new information. Furthermore, during the beginning of the film, the Bao is always shown partaking in Asian activities- such as doing Tai-Chi in the park, or visiting the Asian markets with the mother, etc. Ultimately, aside from growing up and not needing his mother anymore, there are subtle nods towards the cultural gap between the mother and bao, caused by the western ideals he has chosen to adopt.

 

This is why, in the end, the scene of the real son’s return home holds so much importance. Upon the return of the mother’s real son, he shares a box of treats with her. This box seems to hold the same treats as the ones from the Asian bakery that the mother had taken the Bao to at the start of the film. Not only is the food a peace offering; showing his love for his mother the same way she did when he was younger, but the choice of food could also symbolise his acceptance of his heritage.

 

However, despite the actions of the mother always being in the best interest of the Bao, her over-protective nature soon becomes suffocating. As a result of this, the Bao’s natural growth into adolescence is obstructed. But it is only when the Bao enters adulthood that it truly becomes apparent as to how much he has begun to reject his mother’s over-bearing ideals. This, in turn, only inclines the mother to hold onto the Bao more aggressively.

 

It is here where the mother, as a last desperate attempt, eats the Bao. Thus, marking the turning point of the film. This change in atmosphere is further highlighted by the tonal shift in colour and lighting within the film. The moments leading up to the turning point have little to no lighting, as well as utilising a darker colour palette, similar to the scenes at the beginning before she encountered the Bao. This provides the audience with a clearer and more powerful visual of how the mother’s previous fears, insecurities and loneliness is slowly consuming her.

 

With such a slow and dramatic build-up, the impact of the final blow becomes so much more damaging when the mother takes the final bite. The quick actions of this “crime of passion” are a perfect contrast to the emotionally charged lead-up. Although the mother’s actions may seem quite selfish and not motivated by love, there is evidence to support that it was indeed an act of passion. For example, the instantaneous nature of the mother’s movements show she had a clear motive. She did not prolong the action by chewing, instead, carrying it out in one swift motion.

 

During this scene, the mother is only illuminated by a single spotlight. However, as the slow realisation of her actions finally settles in, the last source of light cuts off. As she falls to her knees, the audience is left with the pitiful imagery of an elderly woman crying alone in the dark. In my opinion, it is in this moment of the film where the sound and visuals work most harmoniously together. Firstly, the single spotlight going out is a clear representation of the sole light of her life being extinguished. She was essentially only living and breathing for the Bao. So, without the Bao, there is a high probability that she no longer sees the meaning of existing. Secondly, even though the movie had no dialogue, there would always be music in the background to accompany the scenes; the moment she realises she has eaten the Bao is the first time in the film that there is complete silence. This pregnant pause perfectly encompasses how lonely and isolated the mother feels. And, along with the visual of her kneeling form, makes her look small and vulnerable.

 

Originally, in an earlier draft, Shi claimed that the scene contained more disturbing images. For example, one draft showed the mother chewing on the steamed bun for a few moments while crying, before she ultimately swallowed him. Shi explains that the reason she decided not to keep this particular version was because whenever she showed it to others “they would be really, really upset by it.” (Shi, 2018) In spite of feeling deterred to keep this scene, Shi believes that it is important for children’s films to introduce more themes like this, equally presenting the darker themes of storytelling as the lighter ones. By exposing the dark side of the world, Shi believes it better equips children with the tools they need for the real world.

 

In the end, the mother causes harm to the very thing she swore to protect. Through this short film, Shi presents and explores the idea of a very primal form of love; a love so intense that you would destroy something in order for it to not go away. Shi even stated that the decision to have this scene in the film was inspired by something her own mother would say to her: “Oh I wish I could put you back in my stomach so I knew exactly where you were at all times.” (Brown, 2018)

 

In conclusion, Bao by Domee Shi has managed to cross numerous boundaries. It teaches both children and adults the value of family and love through a very unconventional method; that love is not always easy or beautiful like the media portrays. And, despite the film focusing on such a heavy topic, Shi has managed to convey this message in an understandable manner to both younger and older audiences.

Bibliography

Bao. 2018. [Film] Directed by Domee Shi. America: Pixar Animation Studios.

Brown, T. (2018) How ‘Bao’ director Domee Shi stayed true to her ‘weird’ idea and created a specifically Asian story. Available at: https://www.latimes.com/entertainment/herocomplex/la-et-hc-bao-domee-shi-pixar-20180616-story.html (Accessed: 1 March 2020)

Macabasco, W. L. (2018) In Domee Shi’s Bao, Food for the soul from Pixar’s First Female Director of a short film. Available at: https://www.vogue.com/article/pixar-bao-domee-shi-interview (Accessed: 1 March 2020)

Shi, D., (2018). Disney•Pixar’s Bao’s Domee Shi Reveals Toronto Connection [Interview] (14 June 2018).

Shi, D., (2018). Domee Shi Thinks Kids Can Handle Dark Stories. [Interview] (24 July 2018)

Wang, J., (2016) TutorMing Mandarin Learning Tips Blog . Available at: http://blog.tutorming.com/mandarin-chinese-learning-tips/chinese-terms-of-endearment [Accessed: March 2020]