In a poignant tale of vulnerability and the harsh realities of life, Douzi, a young boy abandoned by his mother who works as a prostitute, discovers comfort in the all-boys Peking opera troupe under the guidance of Master Guan. Here, he cultivates a deep friendship with Shitou, a fellow performer and confidant.
As time elapses, Douzi evolves into a talented dan (female role) performer while Shitou dedicates himself to the demanding art of jing (painted face male roles). During a rehearsal of the play Dreaming of the World Outside the Nunnery, Douzi mistakenly declares, > "I am by nature a boy, not a girl," which leads to severe punishment. Following this traumatic event, both Douzi and Laizi attempt to flee, yet it is Douzi's renewed enthusiasm for acting, inspired by a mesmerizing performance, that brings him back to the troupe. Their return, however, does not go unnoticed, and Douzi suffers brutal consequences. The tragic death of Laizi painfully highlights the harsh realities faced by anyone who defies the troupe's expectations.
As destiny would have it, an agent seeking new talent arrives at the troupe. On this fateful day, Douzi repeats his earlier blunder in front of this influential figure. Quick to act, Shitou encourages him to try again. With newfound resolve, Douzi softly states the correct line: "I am by nature a girl, not a boy," delivering his performance with fierce passion. This remarkable rendition captures the admiration of his troupe members and promptly attracts the agent's interest.
Their troupe soon receives an invitation to perform for the illustrious eunuch Zhang, who gifts them an intricately crafted sword he made. In a gesture of loyalty, Shitou promises to one day present this sword to Douzi, honoring the valiant traditions of heroism.
However, the tide turns when Zhang invites Douzi for a private visit, leading to an unsettling incident of sexual assault. While Douzi remains silent about the ordeal, it’s evident that Shitou senses the deep-seated turmoil within him. As they leave Zhang's estate, Douzi finds comfort in caring for an abandoned infant, who later becomes a disciple of Master Guan, further entwining their fates.
As the years pass, Douzi and Shitou emerge as celebrated Peking opera stars, adopting the stage names Cheng Dieyi and Duan Xiaolou, respectively. Their greatest success comes with the legendary performance of Farewell My Concubine, where Dieyi embodies Consort Yu and Xiaolou portrays the heroic Xiang Yu. Their rise to fame catches the eye of Yuan Shiqing, an esteemed patron who gives Dieyi the very sword he had seen in Zhang's possession.
Amidst Dieyi's soaring popularity, his unrequited love for Xiaolou becomes an unresolved ache. When Xiaolou marries Juxian, a spirited courtesan, the relationships among the three begin to fracture, leading to jealousy and betrayal compounded by the chaotic political landscape post-Second Sino-Japanese War.
Following the death of Master Guan, the infant Xiao Si, once abandoned and now under Dieyi’s apprenticeship, continually learns the intricacies of dan roles. With the communist regime's victory in the civil war, Xiao Si grows fervently loyal to the new government. In contrast, Dieyi’s opium addiction takes a toll, although he eventually finds redemption through the support of Xiaolou and Juxian.
However, Xiao Si harbors bitterness towards Dieyi, fueled by Dieyi's demanding nature. He usurps the lead role in Farewell My Concubine without consulting Dieyi, leaving him heartbroken and isolated. As the Cultural Revolution escalates, the opera troupe endures a punitive session led by the Red Guards, wherein Dieyi and Xiaolou, pressured by the chaos, accuse one another.
In a desperate move to shield himself, Xiaolou claims he no longer loves Juxian, which devastates her, leading to a tragic ending as she returns the sword to Dieyi before taking her own life. Subsequently, Xiao Si is caught by the Red Guards during rehearsals and mourns the beauty of a world that has been lost to turmoil.
As 1977 approaches, there seems to be a fragile reconciliation between Dieyi and Xiaolou. Their collaboration in Farewell My Concubine resonates with renewed energy. During a rehearsal, as Xiaolou emotionally declares, > "I am by nature a boy," Dieyi responds with a resonant, "I am not a girl," encapsulating their shared trauma. As the final notes of the music fade, unease cloaks the pair. In a gripping moment, Dieyi seizes Xiaolou's sword and, reflecting the fate of a tragic concubine, takes his own life, a haunting reminder of the devastating impact of their unresolved emotional struggles.
