Posts tagged ‘ann hui’
Another year, another San Francisco Asian American International Film Festival, except now it’s been rebranded as CAAMfest, which certainly rolls off the tongue more easily than the previous moniker. The festival has added a tagline (film, music, food) that’s a nod to the increased presence of the audio and gustatory arts, but it doesn’t mean that movies are taking a backseat. As per usual there are more than a hundred new Asian and Asian American flicks in this year’s festival—below are a few preview picks.
I don’t need to tell you that this is a great Cinderella story, but filmmaker Evan Jackson Leong has taken the familiar material and shaped a charming and inspiring documentary about everyone’s favorite Asian American underdog. Jeremy Lin turns out to be funny, self-aware, and loquacious and Leong uses his longstanding access to his subject (he started shooting the film when Lin was at Harvard) to great effect. Interviews with Lin’s friends and family members, home videos of the budding basketball prodigy, and great coverage of the actual Linsanity phenomenon makes this a super-fun, captivating movie. The movie also touches on the racism and discrimination faced by Lin, the NBA’s first Asian American superstar, as well as Lin’s devout Christianity, but Lin is such a self-effacing guy and Leong so skillfully handles these elements that they work seamlessly into the whole picture.
A solid film noir set in Manila and directed by Filipino American Ron Morales (Santa Mesa, 2008), Graceland looks at the repercussions of the kidnapping of a pair of young girls. Dark and moody, the film questions the morality of its various characters and, like the best noirs, no one is above scrutiny, everyone is guilty, and everyone has something to hide. The cast is lead by a nervous, sweaty performance by Arnold Reyes as the desperate father trying to save his daughter and who has many hard choices to make. The film also indicts the sex trade, corrupt policemen, and shady politicians—this is classic hardboiled stuff and well worth a look.
When The Bough Breaks
Ji Dan’s verite documentary about a poor Chinese family living in a hovel on the outskirts of Beijing examines the effects of China’s rapidly expanding economy, which has ironically left many in dire economic and social straits. The father is a laborer, the daughters are adolescents trying to find money for themselves and/or their preteen brother to go to a decent school (one “sponsor,” a sick elderly man, offers to fund their education if they’ll sleep with him), and upward mobility is nowhere to be found. As if that wasn’t enough, Dad is a tyrannical drunk who verbally abuses his family at any opportunity, Mom is angry and fed up, and the teenagers are already learning to psychologically torment each other. Plus, the family’s eldest daughter has gone missing for some years after being lured into prostitution by the false promise of a factory job folding cardboard boxes. Overlong, somewhat shapeless, and leaning toward poverty porn, the film is interesting nonetheless due to the tenacity of the two younger daughters who grimly soldier on in the face of a bleak existence.
When Night Falls
Another film set in China, this narrative examines the notorious case of a young man who is driven to commit murder by that country’s oppressive police force. Ai Wei Wei made a documentary about the same case, but this film focuses on travails of the man’s mother as she tries to unravel her son’s unfortunate fate. The movie is composed primarily of long, stationary shots that emphasize the delicate action within the frame, lending a sense of oppression, immediacy, and intimacy to the film.
Also of note in the fest: Debbie Lum’s sharp and observant documentary, Seeking Asian Female, which is all about white dudes with yellow fever (full review here); The Land of Hope, Sion Sono’s second feature set in the Fukashima tsunami zone (full review here); the omnibus film Beautiful 2012, which includes Hong Kong director Ann Hui’s short narrative My Way, starring Francis Ng as a transgendered woman (!) (full review here), and Apichatpong Weerasethakul’s latest dreamwork, The Mekong Hotel. The festival is also presenting a brief retrospective of director Royston Tan, including Old Romances, his documentary elegy to old-time Singapore, the maniacal musical 881, and his debut feature 15, which looks at teenage angst, Singaporean-style. I’ll be interviewing the director onstage live at the Pacific Film Archive following the screening of 15, so be there!
March 14-24, 2013
San Francisco and Berkeley, CA
full schedule and ticket information here.
Now playing in San Francisco is Ann Hui’s A Simple Life, which was the number one film at the local box office when I was in Hong Kong last month. The film’s popularity was just rewarded at the Hong Kong Film Awards, where it won Best Picture Best Actor, Best Actress, Best Director, and Best Screenplay statues, adding to a slew of other accolades from the Golden Horse Awards, the Hong Kong Film Society, the Venice Film Festival, and many more. It’s an outstanding film that deserves all of the attention it’s been getting, and it represents director Hui at her best.
The film follows the relationship between domestic servant Ah Tao (Deanie Ip) and Roger (Andy Lau), her long-time employer. Ah Tao has worked for Roger’s family for three generations over several decades, caring for the children, cooking, and cleaning. Roger, a successful screenwriter, lives with Ah Tao in his family’s flat in Hong Kong after the rest of his family has migrated to the U.S. After Ah Tao suffers a stroke she decides to retire and Roger helps her to move to an old folks’ home in a former bank, with the elderly residents living in the former cubicles.
Hui’s sure directorial hand crafts what might have been an overwrought tearjerker into a film with emotionally honest core. Shooting digitally in modest locations Hui simply captures the quotidian life of her protagonists, which allows the complexities of their relationship to shine through. Without lapsing into sentimentality or melodrama she manages to evoke a deeply emotional response, demonstrating the value of directorial restraint over bombast.
Andy Lau is quite good, although the movie takes pains to downplay his movie-star gorgeousness. At one point he’s mistaken for a repairman and another time a cabbie, but his perfect jawline and aquiline nose belie those conceits. As evidenced by her collection of Best Actress awards, Deanie Ip as Ah Tao is also outstanding. She also dresses down, with a plain-Jane haircut and dowdy cotton shirt and trousers disguising her glamour. Lau and Ip’s chemistry is excellent and believable and results in several truly affecting moments.
Anthony Wong, in red nail polish and a dramatically fluffy scarf, is amusing as the landlord of the rest home and Chapman To makes a brief cameo as a dentist. The denizens of the old-folks home are played by a who’s who of senior Hong Kong actors including Paul Chun, Helena Law Lan and many others.
The movie comments on the formation of families outside of traditional family structures. Both Roger and Ah Tao’s relationship and the bonds Ah Tao forms with the senior home residents replicate family and stress that kinship is not the exclusive domain of blood ties. This is emphasized by the neglectful relationship between one of the residents and her absent son, as well as another woman whose family abandoned her to assisted living in the senior home.
The film also makes some interesting points about class divisions. Although Roger and Ah Tao are clearly very fond of each other they remain distanced as master and servant. Ah Tao continually insists on staying in her place as a servant, refusing money from her former employer and only reluctantly joining a family picture. Her room in the family flat apparently doubles as the laundry room.
Hui’s naturalistic filmmaking style is in full force, with the film’s mis-en-scene seamlessly meshing with my real-life afternoon walk through Wanchai. Seeing it in Hong Kong the film also took on more meaning for me, since in many middle and upper class families there domestic servants are the norm. Hui’s film does an excellent job dissecting the complexities of the master-servant relationship and filtering them through the realities of human emotion.
At the Hong Kong International Film Festival I saw another Ann Hui movie, My Way, which is a 20-minute piece in Beautiful, a four-part omnibus sponsored by the HKIFF, and which just went live on youku.com today (it’s already had more than 1 million hits and has spawned a great debate about transgendered people in the comments section). Like A Simple Life, My Way focuses on ordinary people going through dramatic changes. In a case of extreme anti-typecasting, Francis Ng plays a transgendered woman on the eve of sex-reassignment surgery. His past roles in hypermasculine crime flicks like The Mission and Exiled dramatically underscore the intertwined nature of gender identity and confounds expectations of clear-cut gender roles—if Francis Ng can convincingly portray a man who wants to become a woman, then that kernal of femaleness must lie within every male.
Since Ng’s character is a man dressed as a woman, it’s fine that his sleek black silk dress, stockings and pumps don’t quite disguise his muscular arms and broad shoulders. Francis more than compensates for his still-male physicality by his female gestures and expressions, embodying the duality of his pre-op transsexual character–he’s completely convincing in his gender-switching role.
The short film captures an impressive range of emotions in its brief running time, in no small part due to Francis’ intense and vulnerable rendition of a person trying to cope with difficult decisions. Jade Leung is also excellent as his bitter and estranged wife coming to grips with her husband’s transformation. A small but significant character, Ng and Leung’s adolescent son, has a particularly poignant and moving moment. After his father’s surgery, the son receives a text message announcing the operation’s success. Hui shows both the wife and son’s reactions—the wife weeps, while the son quietly accepts the news.
Like A Simple Life, the film also looks at the formation of familial ties outside of the bonds of blood kin, with Ng’s character supported by a circle of other transgendered women who are more caring than her supposed family members. As with many Hui films, there are no clear villains or heroes, just regular people dealing with stressful circumstances as best they can. Sweet and moving, this film captures the pain and joy of a difficult situation. Francis Ng is fearless in his vulnerable rendering of a fragile yet strong character who must make the difficult decision to break from societal expectations in order to find personal happiness.
Here’s the link to My Way in its entirety on youku.com.
A Simple Life now playing:
Just a quick note about this year’s Hong Kong Film Awards, which took place this Saturday. Wilson Yip’s biopic Ip Man, about the martial arts legend, took Best Picture, with Ann Hui winning Best Director for The Way We Are, her docudrama about the New Territories town of Tin Shui Wai. The Way We Are, with its mostly non-professional cast, also won three other awards including Best Actress, Best Supporting Actress, and Best Screenplay. Nick Cheung (The Beast Stalker) nabbed his first Best Actor statue, adding it to his award from the Hong Kong Film Critics’ Society. Cute little girl Xu Jiao won Best New Performer for her crossdressing turn as Stephen Chow Sing-Chi’s son in Chow’s sci-fi blockbuster CJ7. Unfortunately, according to the Golden Rock’s liveblog she gave a horribly fake acceptance speech that included fake crying. I guess child stars are the same all over the world.
Interestingly, in a repeat of the Golden Horse Awards last year, John Woo’s lavish epic Red Cliff was shut out of the major acting and directing awards (including Tony Leung Chi-Wai’s failure to win his sixth Best Actor award). Red Cliff did clean up in several creative categories such as Best Art Direction and Best Visual Effects, winning five awards. Apparently this year’s nominations were only for Red Cliff 1—Red Cliff 2 will be eligible again next year so maybe then it will make out a little better in the major awards. Ironically, Red Cliff is probably the only film among the award winners that will receive international distribution.
Poor Simon Yam, nominated for Best Actor for Johnnie To’s Sparrow, went home empty-handed again. But he got to wear a natty two-toned sharkskin suit, white spats, and a spider-motif tie, and looked way too dashing for a man in his fifties. Sadly, Sparrow also lost (to Red Cliff) for Best Film Score, which just goes to show that not everyone appreciated its awesome Martin Denny/Michel Legrand/Henry Mancini homage.
For a full listing of the awards go here.
For lots more pix of celebrity finery go here.
For a great liveblog of the event go here.
And here’s the trailer for Sparrow, for a sample of its excellent soundtrack: