Family infighting
After her daughter and youngest son married, Wei and Luo were the only two left at home.
After the local media reported on Wei in 2006, Luo Shanxue became the first nationally-known child of the Japanese wartime sex slavery system.
In 2010, Zhu Hong, an independent television producer who has long been concerned about the legacy of the Japanese invasion, reached out to Wei and Luo. He paid for them to go to Tokyo to participate in the 10th anniversary of the Women's International War Crimes Tribunal on Japan's Military Sexual Slavery.
Zhu Hong believes that Luo, as he is half Japanese, has the right to sue the Japanese government, which has declined lawsuits and requests from China on the grounds that, according to Tokyo, China gave up the right to pursue such claims in the 1972 Sino-Japan Joint Statement.
Despite efforts by individuals and legal experts who have helped former "comfort women" attempt to sue the Japanese government, none have succeeded.
According to Su Zhiliang, director of the China "Comfort Women" Issue Research Center at Shanghai Normal University, as Japanese courts have ruled that the "individual has no right to sue the State," all lawsuits lodged by Chinese "comfort women" have been in vain.
However, after Wei and Luo returned from Japan, Luo's brother believed that Wei had received compensation from Tokyo and had selfishly decided to keep it all for herself and Luo.
The two brothers started to argue. "Whenever he came home, he would quarrel and fight with me," Luo said.
Apart from what little money they make from raising and selling chickens, ducks and their eggs, the 500-yuan monthly subsidy the government gives to the mother and son is their only source of income.
Wei, who has heart diseases and liver tumors, has to spend a large part of their money on medicine.
Wei's daughter and son-in-law who live nearby sometimes ask them to dinner. Luo insists on grazing cows for their son, his nephew, as he hopes his nephew will care for him when he is too old to work.
No apology
The Japanese government rejects the "comfort women" issue and its leaders and politicians have ignored repeated protests held in Japan and many other countries.
But efforts to claim compensation and apologies are ongoing. Although the exact number of "comfort women" remains unknown, researchers tend to agree that there were likely more than 400,000 women from East and Southeast Asian countries forced into sexual slavery by the Japanese military in WWII.
During a recent press conference, Oscar-winning Japanese animator Hayao Miyazaki, slammed Japanese Prime Minister Shinzo Abe and urged his country to clearly state its remorse over its treatment of the Chinese people.
Recently, a group of scholars from Indonesia, Singapore and Malaysia penned an open letter urging Abe to face up to Japan's wartime aggression and apologize to the victims, and compensate the surviving "comfort women."
The Chinese foreign ministry announced last year that it would submit documents about "comfort women" to the UNESCO Memory of the World, a project that aims to preserve documentary records of human history for future generations.
Many Chinese people are attempting to independently collect evidence of these atrocities before the remaining few victims of sex slavery pass away.
Guo Ke, the director of Thirty Two, is this week to debut his film Twenty Two which is about the 22 still-surviving "comfort women" in China.
He became interested in these women in June 2012 when he read a story about Wei Shaolan. In the following months, he paid three visits to Wei and made Thirty Two.
Although having suffered so much, Guo found that Wei still lives optimistically. "The way she faces her past and the positive attitude she has towards life impressed me very much. That's the bright part of her which deserves most respect," Guo told the Global Times.
Last year, he began to visit the 22 comfort women and record their stories.
Thirty Two has been shown in China, the US, the UK, and Uganda. Guo said he tried to have the film shown at a Japanese film festival, but his application was rejected.
Never expecting to make a profit from the films, he said he plans to show Twenty Two for free.
