In Chang I-mou's Red Sorghum, the image of sorghum often initiates narrative through the intertwining of humans and nature. Sorghum in this sense sometimes personified, sometimes witnessing history and becoming history, takes on the primary focus of filmic narration. With detailed discussion of chosen scenes, this paper tries to expound upon its ”role” in the film, to reveal the intricate relationship between image and narrative, to examine how it enhances narrative through the aesthetic aspect of metonymy. The paper will also discuss how the film displays double visions of postmodernism tinged with sorghum as an image of contextualized backdrop.