Xi Jinping Wants Peace! Martial Unification Film 'Battle of Penghu' Pulled, Experts Cite 'Three Red Lines': Politics Should Not Precede History

Reports suggest the Chinese mainland's martial unification-themed film 'Battle of Penghu' may be pulled from release. Liu Xingren, Associate Professor at the Institute of National Development and Mainland China Studies at Chinese Culture University, analyzed for *Storm Media* that the film's controversies stem from glorifying the defector general Shi Lang and depicting the Manchu Qing dynasty's invasion of the Han-led Ming Zheng regime—both sparking debate and potentially misinterpreted internationally as a signal of China's imminent war. If officially withdrawn, it would reflect 'politics preceding art and history.'

The film 'Battle of Penghu,' scheduled for release on July 25 across mainland theaters, reportedly lacks the National Film Administration's screening permit, commonly known as the 'dragon logo,' leading to cancellation rumors. However, starting July 20, mainland cinemas began promoting the film via WeChat public accounts, maintaining the unchanged release date—creating confusion over whether it will proceed.

Based on the 1683 (22nd year of Kangxi in the Qing dynasty) historical event, the film portrays Emperor Kangxi ordering Shi Lang to lead Fujian naval forces to subdue Taiwan, culminating in Shi Lang's victory over the Ming Zheng navy at Penghu and the subsequent unification of Taiwan. The production and official promotion explicitly link this history to current cross-strait tensions, with trailers emphasizing the narrative of 'using force to stop war, peaceful unification.'

Liu Xingren notes this is a high-sensitivity 'cross-strait' epic set in 1683, potentially controversial due to lacking a screening permit and for embedding overly sensitive political implications. The film attempts to force a complex historical event into a modern political framework, resulting in severe backlash in emotional, historical, and propaganda terms.

He highlights two core controversies: First, Shi Lang, originally a Ming general who defected to the Qing, is traditionally viewed as a 'traitorous minister' or 'defector' in Chinese culture—figures not meant to be glorified. Second, the Battle of Penghu was an imperial Manchu conquest of a Han Chinese regime loyal to the Ming, which today may provoke conflicting interpretations among audiences and netizens.

Liu adds that promoting Qing forces as 'righteous unifiers' against the descendants of Zheng Chenggong, defenders of Han culture, creates emotional dissonance in mainland audiences—especially amid rising Han fashion trends and Han ethnic consciousness.

Moreover, framing cross-strait relations as a 'life-or-death' historical battle disrupts Beijing's strategic rhythm of balancing 'peaceful unification' with 'gray-zone pressure.' The authorities are cautious about films that inflame cross-strait tensions and risk losing control over domestic public opinion. If the government intervenes to halt the release, it signals the film crossed political red lines.

Such intervention would confirm Beijing's awareness that the film fails to achieve its intended deterrence against Taiwan independence, instead causing internal divisions among patriotic netizens due to historical inconsistencies, and potentially signaling imminent war to the international community.

China's Taiwan policy combines 'peaceful unification' with 'non-renunciation of force.' Films serve as propaganda tools to unify domestic sentiment and deter separatists. However, if online 'martial unification' rhetoric becomes too radical and pressures official policy, censorship bodies will act swiftly to cool tensions—never allowing public opinion to dictate cross-strait strategy.

Liu observes that President Xi Jinping's recent statements reflect pragmatism and strategic flexibility. While insisting unification is inevitable for 'great national rejuvenation,' he treats peace or force as interchangeable means. Repeatedly in the 20th Party Congress report and 2026 New Year's speech, Xi emphasizes pursuing 'peaceful unification' with 'maximum sincerity and effort,' indicating a preference for low-cost unification.

War in the Taiwan Strait entails massive military risks, international sanctions, economic decline, and threats to regime stability—costs too high to bear. In contrast, achieving 'subduing the enemy without fighting' through economic and social integration offers the lowest cost and highest benefit.

Ultimately, Liu believes the authorities will rationally assess the controversy, recognizing 'Battle of Penghu' as a case where 'politics precedes art and history.' By exploiting history to fuel nationalism while ignoring historical complexity and public sentiment, the film has backfired—forcing official intervention to de-escalate.