Countless young men and women have sacrificed their lives on the battlefield, defending what they believed in.

The majority of them are unsung heroes resting in peace at cemeteries, while others have become household names as their legends are passed down through word of mouth, textbooks and novels, as well as operas and dramas.

Chinese filmmakers retell these legendary sagas with story-driven movies, bringing the viewers back to wartime sacrifices and days of political glory.

Putting the spotlight on the heroes and martyrs, these works are an important part of the Chinese "red movies" – a genre of films that features revolutionary spirits, heroism, and patriotism.

On the day of remembering and mourning, check out this list of classic red movies that allowed the revolutionary spirits to shine again on the big screen long after their light had dimmed.

"For a new China!" – This is the last message left by Chinese communist soldier Dong Cunrui (1929-1948) and one of the most memorable lines in Chinese red films, reverberating through the following generations after the founding of the PRC.

Dong was one of the millions of People's Liberation Army (PLA) soldiers during the Chinese Civil War. He lived a short but extraordinary life.

To carry out the operation of destroying an enemy bunker, he crawled under heavy fire. After reaching underneath the bunker, he failed to find an effective spot to locate the explosives he'd carried. He decided to detonate the explosives by holding them high beneath the floor of the bunker, killing himself and the defenders in the bunker.

A still from "Dong Cunrui" (L) and a Soviet poster for the Chinese film. /Photos via Douban

The 1955 biopic "Dong Cunrui" follows his story and brave acts, stressing his notable courage to protect the country, which has become a powerful spiritual force for the Chinese military.

Dong was only 18 years old when he sacrificed his life. The young martyr was posthumously awarded three "Bravery Medals" and one "Mao Zedong Medal."

Fulfilling his task to build a new China, he was inscribed into the 100 heroic model figures with outstanding contribution to the founding of PRC.

A poster for the 1956 film "Battle on Shangganling Mountain" /Photo via Douban

The 1956 war epic "Battle on Shangganling Mountain" is a poster child for Chinese heroism movies. Depicting an especially fierce battle during the Korean War, the film showcases the persistence and sacrifice of Chinese People's Volunteers soldiers.

With its theme song "My Motherland" overwhelmingly popular among Chinese people, the film is a testament to the courage and selflessness of the Chinese military, which is noted as "the spirit of Shangganling."

Numerous war heroes emerged at the brutal battle with the heroic death of the martyr Huang Jiguang (1931-1952) being the highlight moment in the film. Huang hurled himself against a machine gun mounted on the enemy blockhouse, blocking its fire while sacrificing his life. He died at 21 years old.

Given the title of "Combat Hero, Special Class" by the Chinese government, Huang has become a symbol of the fearless and selfless spirit of the Chinese military.

'Lei Feng'

Posters for the 1965 film "Lei Feng" /Photo via Douban

Stories about Lei Feng (1940-1962), one of China's most memorable heroes, are a familiar topic among the Chinese, young and old alike. The biographical film "Lei Feng," which is based on his entire life, is widely considered as "the axis of the 1960s and 1970s movies."

The 1965 film encapsulates the remarkable growth and exploits of the PLA soldier – an example of "selfless service" provided by the Communist Party of China (CPC), commemorating the model citizen, who died in an accident while on duty in 1962 at 21.

Lei is well-known for his generous kindness, honesty and modesty, as well as his great sense of responsibility. He has been a role model for generations of Chinese with his personal qualities and distinguished public service, widely dubbed "Lei Feng Spirits," profoundly influencing his countrymen and women.

Late Chinese leader Mao Zedong designated March 5 as "Lei Feng Day" in 1963, and it has been marked annually ever since by acts of public service such as picking up garbage and visiting the elderly.

'Sister Jiang'

A still from the 1978 film "Sister Jiang". /Photo via Douban

Based on the renowned 1961 novel "Red Crag," the film "Sister Jiang" follows the ups and downs of the Communist revolutionary martyr Jiang Zhuyun (1920–1949), widely regarded as one of the most celebrated Chinese heroines.

After her husband was killed by the enemy, Jiang took his role to lead a group of guerrillas, but was arrested and imprisoned.

Despite being tortured during interrogation, she was determined to keep silent to protect her comrades and devoted her life to the liberation of southwest China's Chongqing in 1949. She died at the age of 29.

In her last letter, now on display at Chongqing's Sanxia Museum, Jiang expressed her deep care and love for her then three-year-old son and her determination to fight.

'Zhang Side'

A poster (L) for and a still from the 2004 film "Zhang Side" /Photo via Douban

Born in a poor family, Zhang Side (1915-1944) is an important model of the CPC-led armed forces, who sacrificed his life to save his fellow comrades.

Set in the late period of the Second Sino-Japanese War, the 2004 film depicts the extraordinary revolutionary course of Zhang, as well as the stories between the ordinary soldier and CPC leader Mao Zedong.

Zhang and his fellows were digging a cave to build a charcoal kiln in northwestern Shaanxi Province when the structure suddenly collapsed. Letting others leave first, the 29-year-old soldier was killed by the debris.

After Zhang's death, Mao made a famous eulogy titled "Serve the People" – one of his most influential speeches, in which he spoke highly of Zhang's noble morality and selfless service, noting that "his death is indeed weightier than Mount Tai."

Cover image: Liu Shaozhen

Videographers: Lin Zihan, Ding Zhiyang

Video editor: Ding Zhiyang

Copy editors: Nadim Diab, Henry Zheng

Chief editor: Pei Jian