Directed by Maxim Derevianko, Ai Weiwei’s Turandot follows the production of one of artist’s greatest minds and his journey towards directing one of opera’s greatest productions. However, in a unique twist, Weiwei has no experience bringing plays to life. Yet, the artist remains undeterred. (“I like to do what I’m not good at,” he tells us.) With a passion for the subject matter, Weiwei embarks on his latest opportunity to speak to the contemporary parallels in classic art.

As Derevianko follows the artist, his lens highlights the incredible beauty of the world on stage. With every costume changed and note performed, the film has a certain scope that suits the screen well. At times, this can become an immersive experience for the viewer that draws you in to the film.

But it’s Weiwei’s unique way of looking at the world that makes this film truly remarkable. After all, as a Chinese dissident, Weiwei understands the complex relationship between art and resistance. To him, Turandotisn’t merely an ‘old opera’. It’s a rallying cry for the modern era. (“Whatever we do is part of the past. Our past—whatever happened is part of today,” he says.)

In this spirt, Turandot also gives the artist plenty of room to discuss the nature of art itself. What has always made Weiwei unique is the way that his artist’s mind breathes political rebellion and he seeks to embed that within this production. As such, there’s a restless heartbeat that pounds underneath the surface of Turandot.To Weiwei, art is an opportunity to transform something “into something you can never imagine about… and that also can give you a new life.” There’s a push towards an unimagined future in Ai Weiwei’s Turandot that calls for culture to be and do better for human rights.

Ai WeiWei’s Turandot played at HotDocs ’25. For more information, click here.