This paper delves into Chen Kaige’s 1993 film “霸王别姬” (Farewell My Concubine), which, during China’s tumultuous 20th-century history, spans 54 years, following the trials of two Peking opera performers, Cheng Dieyi and Duan Xiaolou. The analysis reveals the film’s defiance of heteronormativity through the complex relationship between Cheng Dieyi and Duan Xiaolou. The film’s exploration of homosexual desire is at the heart of the story, revealing the subtle emotional connections between its protagonists and highlighting Cheng Dieyi’s subtle challenges to social expectations, humanizing the gay experience. The essay also critiques oppressive social structures and their impact on individual lives, drawing parallels between the characters’ struggles and broader historical events such as the Cultural Revolution. Additionally, the film’s depiction of gender norms comes under scrutiny, with a focus on Cheng Dieyi’s depiction of femininity and its challenge against traditional male-centric gender roles. The characters in the film echo the real-life interpretations of BL (boys love), revealing society’s acceptance and resistance to homosexuality. The paper concludes with a discussion of the film’s representation of gay life and trauma, highlighting cultural resilience and adaptability. Through multi-perspective analysis, this article aims to reveal the film’s in-depth exploration of gay identity, social pressure and the pursuit of self-acceptance in the context of Chinese cultural upheaval, and ultimately to provide insights into the role of Farewell My Concubine in challenging and shaping progressive social and cultural change.