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Feminists argue that the genre of Chinese martial arts film maintains a Confucian discourse that limits women’s rights, because the typical cinematic image of female warriors is under patriarchal control, which fails to represent feminist emancipation. This article explores a Chinese female warrior within a Daoist cultural discourse, Nie Yinniang, who first appeared in  Tang Chuanqi  in Tang China (618–907) and was adapted into the film of  The Assassin  (2015), directed by Hou Hsiao-hisien. By applying ecofeminism and Daoism as the theoretical approach, this article argues that  The Assassin  (2015) represents both Daoist and ecofeminist understanding of nature as One. The cinematic style of  The Assassin  (2015) incorporates the Daoist philosophy and thus constructs a unique female warrior in the genre of Chinese martial arts films that moves beyond the Confucian discourse. Importantly, this article argues that the character of Nie Yinniang in  The Assassin  (2015) represents a strong feminist value of non-violence that is both Daoist and ecofeminist.

Ecofeminism and daoism: the feminist analysis of female warrior of Nie Yinniang in The Assassin (2015)