A Foggy Tale dispenses hope for a better tomorrow even in times of (White) Terror (Film review)

  

A Foggy Tale screened at the Hong Kong 

Cultural Centre's Grand Theatre 

 

Lead actor Will Or on stage at the post-screening Q&A

 

A Foggy Tale (Taiwan, 2025)

- Chen Yu Hsun, director-scriptwriter

- Starring: Caitlin Fang, Will Or, 9m88

- Part of the HKIFF's Gala Presentation program 

 

The "White Terror", the name given to period of martial law and violent political repression of by the then ruling Kuomintang political party, lasted for 40 years. In 1989, two years after it ended, Hou Hsiao Hsien made the first film about it, the seminal City of Sadness.  In the years since, a few other filmmakers have mined this subject, including another great Taiwanese auteur, the late Edward Yang, with A Brighter Summer Day (1991).  

 

Clearly though, there still are a lot of stories to tell about those tumultuous times. And by way of this winner of four Golden Horse Awards (including for Best Narrative Feature, and Best Original Screenplay for its director-scriptwriter), Chen Yu Hsun has produced a powerful work that deserves to be spoken in the same breath as the works of Hou and Yang -- and honoured the memories of those who unjustly perished during the White Terror and those who survived against the odds.    

 

A Foggy Tale tells the story of Yue (portrayed by Caitlin Fang), an orphaned teen from an impoverished rural family whose beloved elder brother is captured and killed by the Kuomintang.  Determined to bring his body back home (rather than have it end up in a common grave), she makes the approximately 250 kilometer journey from Chiayi to Taipei.       

 

Plucky but naive, she soon gets abducted by men aiming to sell her off to for a few hundred (Taiwanese) dollars.  Very fortuitously for her though, she also had crossed paths with a Cantonese ex-soldier turned rickshaw driver whose foul mouth belies his heart of gold and Kung-tao (played by multi-lingual Hong Kong actor, Will Or) and he comes to her rescue.  Over and over again, as it turns out.   

 

In addition to being this film's title, A Foggy Tale also is the name of a story that Yue's elder brother tells her elder sister (played by the actress whose stage name is 9m88), a Taipei resident who Yue had previously never really known as the elder sibling had been sold off when Yue was very young.  In addition, it doesn't take a genius to figure out that director-scriptwriter Chen thinks that many people today have foggy memories of the White Terror and that he wants to cast light on those terribly trying times that he, who currently is in his 63rd year, lived through.  (More than by the way, his Wikipedia entry includes the following line: "After failing the university entrance exam, he had no choice but to enlist in the military.")

 

More than by the way, there is no escaping from the fact that A Foggy Tale is an intense film with painfully tragic and stomach-churningly horrific moments and scenes.  But director-scriptwriter Chen makes this excellent dramatic work easier to watch and digest by including in it colourful characters, some light, even (darkly) comedic segments, and a hope that better days and futures lie ahead, for individual people and, also, their nation as a whole.      

 

My rating for this film: 9. 

A Japanese anime with arresting visuals and an Italian film with a whole lot of dialogue! (Film reviews)

  

Moments before the beginning of a Hong Kong 

International Film Festival screening

 

The Last Blossom (Japan, 2025)

- Baku Kinoshita, director and co-scriptwriter (with Kazuya Konomoto)

- Voice actors: Kaoru Kobayashi, Junki Tozuka, Pierre Taki, Hikari Mitsushima, Yoshiko Miyazaki

- Part of the HKIFF's Animation Unlimited program  

 

For those people who still think that anime is just for children: check out The Last Blossom.  Okay, yes, it has a child character (Kensuke is voiced by 30-something-year old Natsuki Hanae) and even a talking flower (voiced by Pierre Taki).  But this truly is a mature dramatic work about an elderly, dying yakuza serving a life sentence looking back at his life and reflecting in particular on the phase of his life back in the 1980s when he lived with the love of his life, devoted single mother Nana. 

 

Such is the length of the time line of The Last Blossom's story that both lead character Minoru and Nana are voiced by not one but two people; with Kaoru Kobayashi supplying Minoru's younger voice, Junki Tozuka his older one, Hikari Mitsushima voicing Nana in the 1980s and Yoshiko Miyazaki in the 21st century.  Yet I must confess that I only realised this when looking at the film credits!

 

Meanwhile, the Housenka flower is voiced by only one actor despite it appearing in flashback scenes taking place in the 1980s (when it was growing in the garden of the house that Minoru, Nana (who he chose not to marry so as to ensure that she would be unsaddled with yazuka connections) and her son Kensuke lived) and as a potted plant in Minoru's prison cell that Minoru talks to in the early 21st century period.  (More than incidentally: the audience of The Last Romance is informed that young and dying humans can hear the Housenka flower's utterances.  Also, people who are seriously ill (who may recover rather than die).)  

 

Such fancifulness is the exception rather than the rule in this sombre, evenly paced film that poignantly details a long, deep love and what Minoru was willing to do for the woman he loved, and also the sacrifices that he made not only for her but also Kensuke -- who Nana had accused Minoru of not thought of as his son -- and his yakusa boss/"older brother".  But director Kinoshita also is to be credited for making sure there is beauty in what would otherwise be an overly sad work: visually, including via a hanami fireworks display one festive evening; and with music, notably via inspired use of the classic Stand By Me tune.    

 

Beautifully rendered throughout, The Last Blossom is visually impressive.  But what makes it a thoroughly as well as quietly absorbing watch is its touching story revolving around a taciturn yet very understandable main character -- filled with regret but also imbued with a stubborn belief that defeat can be turned into victory in the final stretch with just one great move -- that tugs at the heart.

 

My rating for this film: 8.0 

 

Year One (Italy, 1974) 

- Roberto Rossellini, director and co-scriptwriter (with Marcella Mariani and Luciano Scaffa)

- Starring: Luigi Vannucchi 

- Part of the HKIFF's Gala Presentation program 

 

This Roberto Rossellini film was the opening film of the inaugural Hong Kong International Film Festival in 1977.  I imagine that it was very well received since the 4K restoration of it was chosen to be screened at the 50th edition of the fest; and got a far better audience reaction than that at the screening I attended, which saw a few walkouts and also people dozing off midway through the movie!

 

Early on in this neorealist work, its main character, real life Italian politician-statesman Alcide De Gasperi -- a leader of the Christian Democracy party who served as the country's prime minister from December 1945 to August 1953, passing away just one year later -- states that he prefers dialogue to monologue.  If only that was so too for Roberto Rossellini, in whose film De Gasperi (as played by Luigi Vannucchi) talks and talks and talks... at great length, and mainly at, rather than to, other people in an efforts to preserve a fragile democracy and turn a country divided and in shambles into one that could offer more to its people!

 

Year One mainly consists of three type of scenes.  The type that features the most has De Gasperi speaking in whole paragraphs -- expounding really -- without much pause, mainly about weighty, political issues, and prompting me to idly wonder how the actor was able to do so without his mouth turning dry and his needing to drink some water!  The second type features a Greek chorus or so featuring either the chattering class idly chatting in what looks like a bar situation or fellow politicians in serious discussion over political moves by various figures. 

 

And then there's which this incredibly talky film opened with, and I wish there had been more of: scenes with far more action than dialogue, and which I honestly think conveyed so much more with images than all the words coming out of De Gasperi's mouth did.  Including a dramatic World War II bombing scene; another of the terrible aftermath of bombs hitting a village; another showing Rome under Nazi occupation; a fourth showing Rome in the ecstatic moments after its liberation by Allied forces; and a fifth of frenzied rival political campaigning in the first post-war years.

 

I am sure people who with greater knowledge of Alcide De Gasperi and Italy in general would get far more out of Year One than the likes of me.  But, look: I knew about as little about Ghost Elephants before watching Werner Herzog's film about the search of them or Lebanon before viewing Lana Daher's Do You Love Me; and yet found them far more to my liking!  Also, it's not often that I come out a movie thinking its story might have been better served as a book or even as a radio show.  Or, at the very least, that it really would have been more effective in communicating its entirely serious messages with far less talk, however impassioned, and more action!

 

My rating for the film: 5.0  

A documentary about Noh and a feature film set in Kabukicho at the Hong Kong International Film Festival (Film reviews)

  

There still are (a few) films having their world premiere

at the Hong Kong International Film Festival

 

A HKIFF photographer taking photos of The Path of Soul's

director, Cheuk Cheung (and interpreter Joanna Lee?)

 

The Path of Soul (Hong Kong-Japan, 2026) 

- Cheuk Cheung, director 

- Part of the HKIFF's Reality Bites program 

 

In the wake of Japanese films being pulled from a culinary-themed film program organized by the Leisure and Cultural Services Department this past December, some of us film fans wondered and worried as to whether there would be any Japanese offerings at this year's Hong Kong International Film Festival.  The answer, we found, is that there are some in the program but just a handful.  And there would have been even fewer if not for this Hong Kong-Japan co-production helmed by Hong Kong filmmaker Cheuk Cheung.  

 

Best known for his trilogy of Chinese opera documentaries (including My Way (Hong Kong, 2012) and Bamboo Theatre (Hong Kong, 2019)), Cheuk Cheung's latest film looks at the Japan's Noh theatre.  Multiple years in the making (with footage going all the way back to 2017), The Path of Soul focuses on Hikaru Uzawa and Hisa Uzawa, two female Noh performers who also happen to be a mother-daughter pair.     

 

Although it's mentioned in this illuminating work that 15% of Noh performers are female, director Cheuk mentioned during the post-screening Q&A session -- which, by the way was wonderful for all the questions being good and the answers detailed and really interesting! -- that many people, including Japanese folks, still don't realise that there are (professional) female Noh performers.  Something else that's pointed out in the The Path of Soul is that females were only admitted into the Noh theatre world after the Second World War.  Not long in the grand scheme of things then, in view of this Japanese theatre art having been performed since the 14th century!

 

Inevitably then, The Path of Soul spends time discussing the challenges that both the senior Hisa Uzawa and junior Hikaru Uzawa face as a consequence of their being female in a traditionally male world.  At the same time though, the viewer gets the sense that females in the world of Noh are becoming normalised by way of footage showing the Uzawas not only performing but also teaching Noh to young girls along with boys and men as well as women who all seem perfectly happy to obey their instruction.  And their spouses looking to support them in their endeavors too.

 

During the Q&A, Cheuk revealed that he knows some Japanese but also worked with an interpreter when filming, and conducting interviews that were filmed and screened as part of, this absorbing offering.  He also revealed that he and Hikaru Uzawa are good friends.  Which helps to explain how open the Uzawas were with him.  Though, interestingly, he also mentioned that he felt that the best interview he had with Hikaru Uzawa was one in which she spoke with her eyes closed during it!

 

My rating for this film: 7.0 

 

Meets the World (Japan, 2025) 

- Daigo Matsui, director 

- Starring: Hana Sugisaki, Kotona Minami, Rihito Itagaki, Kiyohiko Shibukawa, Yu Aoi

- Part of the HKIFF's Fantastic Beats program 

 

This ensemble film is an adaptation of a 2022 novel by Hitomi Kanehara, a writer who has explored serious, gritty subjects like pedophilia and self harm, and whose own life trajectory has been pretty dramatic and unconventional.  (Among other things, the daughter of an academic dropped out of school when she was just 11 years old and left home at age 15!)  

 

Having not read it (this not least because it's not been translated into English), I don't know if the novel version of Meets the World is serious and gritty.  But I can tell you that the film is far less so than might be expected, considering that its characters include a woman who works in hostess club and men who work in the male equivalent, one who has been spending time in a psychiatric facility and also ones who have spent significant portions of their lives contemplating suicide. 

 

Sometimes, this can work in its favour: in that, it's novel and actually pleasant to watch unlikely friendships form between Yukari (played by Hana Sugisaki), a 27-year-old bank worker who's also never had a boyfriend (thanks probably in part to her being super-immersed in yaoi fandom), and cool bar hostess Rai (portrayed by Kotona Minami) and her (sexually) sophisticated Kabukicho-based friendship circle, which include extrovert nightclub host Asahi (essayed by Rihito Itagaki), bar owner Oshin (played by Kiyohiko Shibukawa) and the charismatically melancholy Yuki (Yu Aoi playing against type). 

 

At other times though, it can feel like director Daigo Matsui is airbrushing elements that would add depth and logic to character story arcs and general proceedings.  This particularly so in the latter part of Meets the World when certain dramatic turns seem to come from out of the blue and throw the film for a loop.  This even more so when these "developments" are left unresolved and unexplained.

 

All in all, Meets the World works best when its characters are happy.  And innocent.  With my favourite moments and scenes in this emotionally all over the place movie being those where Yukari reveals and revels in her being a super fan of a manga that very amusingly has characters who are yakiniku (grilled meat) menu items that come in the form of handsome gay men!  

 

With regards to films that feature fans of yaoi: I must say I prefer BL Metamorphosis (Japan, 2022).  And with regards to cinematic adaptations of novels: it really would not be fair to compare this to Our Little Sister (Japan, 2015) -- because pretty much every movie is not as good as that.  But yes, well, I can't help thinking that if Hirokazu Kore-eda had directed this film, it most definitely would have been a far better offering than this promising-but-ultimately-rather-disappointing one from Daigo Matsui!

 

My rating for this film: 6.0       

Two very different documentaries viewed at the 2026 Hong Kong International Film Festival (Film reviews)

  

Advertising for the 50th Hong Kong 

International Film Festival seen around town

 

Ghost Elephants (USA, 2025)

- Werner Herzog, director-scriptwriter 

- Part of the HKIFF's The Masters program 

 

Some years ago, I was talking to a film programmer about what films are fine to be viewed on a small screen and what needs to be seen on a big one.  At the time, I thought that documentaries and domestic dramas didn't lose as much when viewed on home video than blockbuster epics.  He begged to differ, stating that all films have are best seen on a big screen since that's where they were made to be screened by filmmakers.

 

Over the years, I came to his way of thinking.  And particularly appreciate it when I get to view a film on the truly big screen at the Hong Kong Cultural Centre's 1,734-seater Grand Theatre -- as was the case with Werner Herzog's documentary about the epic journey undertaken in search of an elusive herd of elephants in Angola's hauntingly beautiful as well as ecologically very important Bié (aka Central) Plateau.

 

As is expected of a work by Herzog, Ghost Elephants is not a conventional documentary.  (Though having said this, as a friend noted, it is one of the veteran German auteur's more conventional offerings.)  This particularly so in his injecting and emphasising mystical elements -- by way of the San people (popularly referred to as "Bushmen") whose tracking skills can seem close to supernatural and also a local king's recounting of an ancestral legend involving an elephant that shed its skin -- to his documentation of what's effectively a scientific expedition led by zoologist-conservationist Dr Steve Boyes in search of what could well be currently the largest land animals on the planet and maybe even a previously undocumented elephant sub-species.

 

Something that can be endearing about Herzog is how so much seems to fascinate him.  In Ghost Elephants, it's not just the titular subjects but those who go in search of it, and the peoples of the foreign land that he encounters along the way.  And while the sight of the elephants are hard to ignore when they appear on screen, the Bié plateau along with other views of the African landscape are exquisitely filmed too, and come across as characters in their own right with parts to play in the story being told.

 

Speaking of story: along with the documentation of a magnificent scientific obsession (on the part of Steve Boyes) and the wonders of nature, Ghost Elephants also tell of humans' inhumanity in the treatment of Mother Nature; pointing out that casualties of Angola's so-called "civil war" included wildlife as well humans, and showing archival footage of a 1960s-era elephant hunt that involved shooting at them from a helicopter.  

 

Which has me thinking it's a curious, and lamentable, omission on Herzog's part that he didn't mention in the documentary that the Bié plateau was, as per the Wikipedia entry on it, "deeply affected by slavery, with estimates of as much as half the local population being enslaved in the mid-1800s".  Perhaps it will be the subject of a follow-up work from the filmmaker?  Though, to judge from what one sees in the film, the chances are higher that he will return to Africa to make a work focused on the San people, who he confessed out loud in Ghost Elephants to finding it hard to not over-romanticise!

 

My rating for the film: 7.0 

 

Do You Love Me (Lebanon-France-Germany, 2025) 

- Lana Daher, director and co-scriptwriter (along with Qutaiba Barhamji)

- Part of the HKIFF's Reality Bites program 

 

In the first few minutes of her documentary, Lebanese filmmaker Lana Daher explictly informs the audience of Do You Love Me that this work will not show events taking place in chronological order and that the effect may be disorientating -- but if so, it's on purpose.  What she didn't state in the work itself -- but I think should be clear by way of a look at the offering's title -- is that this also is a film that works best if the viewer engages with it emotionally as well as intellectually.

 

Clearly a labour of love by someone who loves Lebanon, Do You Love Me presents a history of a nation with no national archive by selecting from, and splicing, images and sounds from more than 20,000 hours of audiovisual footage spanning some 70 years.  Seven years in the making, this 75 minute work incorporates news and feature film clips, TV programmes, home videos, personal photographs in an initially dizzying and altogether ingenious way.

 

Through the eyes, ears and work of Lebanese people of various ethnicities, religions, ages and so on, we see the country's complexity, beauty, problems, horrors and humanity.  Viewers are treated to scenes of everyday life, scenes of violence, and even scenes of violence that, tragically, have become everyday.  (And yes, I am aware of what's happening to, and in, Lebanon currently.  Which makes it all the more important that Do You Love Me was made, and bittersweet to view.)

 

Like it does in the country of some 5 million people, Beirut -- where approximately half of the people live -- looms large in the film.  Director Daher does not hide that this city that's the 16th largest in the Arab world is socioculturally divided along religious lines but also shows both the Christian and Muslim sides, in joyous as well as unhappy scenes, and always with humanity.

 

Although it effectively begins with scenes of the sea, it's the sense of humanity that overwhelmingly courses through Do You Love Me.  Mesmerising and increasingly hypnotic, the choices of visuals and music are masterful.  And while I admittedly came away from this work still not knowing enough of Lebanon to love it, I must say that I do feel that I learnt enough to respect the people of Lebanon and feel that they deserve better, including more peaceful and good times than they are currently facing as well as have faced over the years and decades.  

 

My rating for this film: 8.0.    

My 50th Hong Kong International Film Festival-ing kicks off with "Woman and Child" (Iran-France-Germany, 2025)! (Film review)

 

My tickets for the 50th Hong Kong International Film Festival!

 

Woman and Child (Iran-France-Germany, 2025)

- Saeed Roustaee, director and co-scriptwriter (with Azad Jafarian)

- Starring: Parinaz Izadyar, Payman Maadi, Soha Niasti, Maziar Seyedi, Fereshteh Sadr Orafaee, Hassan Pourshirazi, Sinan Mohebi

- Part of the HKIFF's Global Vision program 

 

A confession: I did not originally plan to attend a Hong Kong International Film Festival screening of Woman and Child.  Rather, a booking error resulted in my coming by a ticket.  But after seeing that it was directed by the same helmer as Leila's Brothers  (Iran, 2022), which I had viewed -- and got much out of -- at a previous edition of the HKIFF, I decided that the mistake might be a blessing in disguise.

 

Made after Saeed Roustaee had served a six-month prison sentence and a filmmaking ban imposed on him by the Iranian government -- for entering Leila's Brothers in the Cannes Film Festival! -- had been lifted, Woman and Child was made with the approval of the same regime.  Something that I find interesting since this drama centering on a widow with two children who lives with her mother and sister is one that yet another Iranian film that doesn't seem to sugercoat the lives of Iranian people, and their everyday struggles.

 

Mahnaz (portrayed by Parinaz Izadyar) is a hospital nurse who is being romantically pursued by a freelance ambulance driver named Hamid (who comes in the form of Saeed Roustaee film regular, Payman Maadi).  Although Hamid's pressuring her to get married to him causes some stress, Mahnaz seems to harbour genuine affections for him.  And, also, rather inexplicably, her son, Aliyah (played by Sinan Mohebi), who's the most annoying child I've seen in a film since Tan Chui Mui's Barbarian Invasion (Malaysia-Hong Kong-Mainland China, 2021)'s Yu Zhou.

 

So part of me was happy to see him being taken out of the picture fairly early into the movie.  And somewhat inexplicable to me that this development could leave Mahnaz so incredibly distraught that she literally faints at one point in the film.  And, also, becomes not only so emotionally numbed as well as upset that she neglects her much less annoying daughter, Neda (played by Arshida Dorostkar) as well as her own self and others: because, contrary to the title of the film, there's more than one child in the picture.

 

As the reviewer for Variety complained, "none of [Mahnaz's] actions makes the slightest sense". While I agree with that assessment, I'm less in agreement that it's not completely understandable.  Because, well, humans can be incredibly illogical, especially with regards to human relations and when powerful emotions are triggered.  Which certainly is in the case in Woman and Child. (Incidentally, I think that if the title hadn't already been taken, "Woman on a Verge of a Nervous Breakdown" might have been a good one for this movie!) 

 

How you feel about this will undoubtedly affect your overall assessment of this offering that, for me, was involving and actually pretty emotionally gripping throughout.  In addition, I felt that Mahnaz's multi-dimensional interactions with her mother (portrayed by Fereshteh Sadre Orafaee) and younger sister Mehri (played by Soha Niasti) that alternately help to relieve and heal but at other times further threaten to drive her over the edge are fascinating to behold.  

 

More than by the way, I think Woman and Child would have been a better film overall if it had focused more on the females in it as the males are, for the most part, its least watchable characters.  At the same time, the scenes in Aliyah's (all boys) school and the vocational school next door are also very well conceived and shot indeed.  So maybe it's more that the work would have been better served with less of Aliyah and Hamid in the picture; just as Mahnaz would have been better served with less of them in her life!

 

My rating for the film: 8.0  

Montages of a Modern Motherhood is replete with scenes of a modern mother's trials and tribulations (Film review)

 

Advertising for three Hong Kong movies (including Montages

of a Modern Motherhood) at Golden Scene Cinema in late 2024 

 

Montages of a Modern Motherhood (Hong Kong, 2024)

- Oliver Chan Siu-kuen, director-scriptwriter

- Starring: Hedwig Tam, Lo Chun-yip, Janis Pang, Patra Au, Fung So-po, Tai Bo

 

After viewing her (and yes, Oliver Chan is a woman!) bravura first feature film, Still Human (2018), I've been looking forward to seeing Oliver Chan's follow up cinematic effort and didn't think I'd have to wait seven years to do so.  This especially after she announced in July 2019 that she had a "new project" for the second half of the year -- only for it to be revealed that the "project" in question was a baby!

 

If the first months of her being a new mother had any semblance at all to that of the protagonist of Montages of a Modern Motherhood, it'd help explain why it took so long for her second film to come about however.  Though it's also worth pointing out that this drama about the trials and tribulations of a new mother also did have its world premiere back in October 2024 (at the Busan International Film Festival) and screened at other film festivals in Tokyo, Taiwan and Hong Kong before finally starting its theatrical run in its home city late last month.

 

Based on its fest circuit demand (and its Hong Kong International Film Festival screenings having sold out very quickly), it thus might come as a surprise to learn that the offering has brought in a paltry HK$2.3 million in the first two weeks of its general cinematic release.  But after viewing this 111 minute long work  myself, I understand.  In short: it's a good, well-made film that does deserve an audience -- but it's not an easy watch at all; this not least because the baby in the movie cries A LOT, and loudly too, in it!

 

Despite the efforts of baby Ching's mother, Suk-jing (Hedwig Tam in what looks to have been a very demanding role), the infant is not a happy being.  Was it because she wasn't adequately fed?  If so, it clearly was not for want for trying on the part of the mother -- as Suk-jing tried ever so hard to pump milk out of her breasts and, also, produce the mother's milk she knows is better for babies than the powdered milk that her mother-in-law (Pang Hang-ying) sought to replace it with.   

 

Was it because, as the wise woman (a sympathetic turn from Fung So-po) that Suk-jing enlisted to help her look after Ching, suggested, a baby reflects the feelings of the mother, so that "happy mother, happy baby" -- and thus "unhappy mother, unhappy baby"?  For it is true that there appeared to be very few happy moments in Suk-jing's time as a mother (and thus, also, Montages of a Modern Motherhood itself); with her living situation (as part of a three-generational household along with her husband Wai (played by Lo Chun-yip) and, also, her in-laws) making things worse rather than actually helping -- and her own beloved mother (essayed by Patra Au) living two hours away and thus being less able to help out than either woman would have liked.

 

Oliver Chan has said that Montages of a Modern Motherhood is intended "not only a heartfelt tribute to new mothers but also an effort to help men and families better understand the struggles women face postpartum — fostering greater empathy, support, and involvement".  If so, I think she could have done a better job; not because her film did not sympathetically or adequately show how a new mother can feel unsupported and in need of help -- but because it did so in such a way that it might put everyone -- male as well as female -- viewing it off having any kids of their own! 

 

"Anyone in the late stages of pregnancy might do well to avoid Montages of a Modern Motherhood" began the Hollywood Reporter review of this drama!  And a man walked out midway through the screening that I attended!  That man, I am going to assume, will either never want to a baby in his home after viewing the film -- or, if he already has one was thinking "I've already heard my share of crying babies in my life; I don't need (so much) more while watching a movie!" 

My rating for the film: 7.5

Stranger Eyes is on the strange side! (Film review)

  

Seen on the screen before the final 2025 Hong Kong

International Film Festival screening I attended 

 

Stranger Eyes (Singapore-Taiwan-France-USA, 2024)

- Yeo Siew Hua, director-scriptwriter

- Starring: Wu Chien Ho, Lee Kang Sheng, Anicca Panna, Pete Teo

- Part of the HKIFF's Cinephile Paradise program 

 

While the Hong Kong International Film Festival was in progress, two friends and I discussed our fest picks. Upon hearing that Stranger Eyes was among my selections, one of them jokingly asked me, "Are you sure?  Lee Kang Sheng's in it!"  Whereby I pointed out that although he's been in a number of films I've disliked (including Goodbye, Dragon Inn and I Don't Want To Sleep Alone), all of them had been directed by Tsai Ming Liang -- unlike this one!

 

Post viewing this Yeo Siew Hua directorial effort, however, I must say that I get the sense that Tsai Ming Liang is a filmmaker that this work's helmer admires though; and not just because of the Singaporean director-scriptwriter having got Tsai Ming Liang's favourite actor to appear in his movies.  Among other things, the slow and methodical pacing appears to be influenced by Tsai Ming Liang too; and ditto re the film's improvisational style, which lends it a quirkiness and unpredictability that seems rather, if I were to culturally stereotype, un-Singaporean!

 

Despite being a multi-national co-production, Stranger Eyes' setting is entirely in Singapore though.  Also recognisably Singaporean are elements such as the film's focus being on individuals who live in apartments -- one group in a three-generational household, the other in a two-generational one.   

 

Initially, Stranger Eyes centers on the former.  Junyang (played by Wu Chien Ho) and Peiying (portrayed by Annica Panna), their baby and his mother (who comes in the form of the un-grandmotherly appearing Vera Chen) live together in an apartment.  Or, rather, did -- as baby Bo has disappeared.  One moment, she was at a playground with Junyang.  Then, when his attention was focused elsewhere, she seemingly vanished from sight.      

In an apartment in a block facing their apartment live supermarket manager Wu (portrayed by Lee Kang Sheng) and his elderly mother.  Unbeknownst to Junyang and Peiying, their paths have crossed with Wu -- who, it turns out, has been effectively surveilling them at work and from his home; in part because he is fascinated by Peiying, seemingly in part out of boredom and, also, because it's easy enough to do!      

For reasons that never seem to have been made clear, Wu decides to drop off DVDs of recordings of his surveillance "work" at the home of Junyang, Peiying and co.  Whereupon the young couple -- and Officer Zheng (played by Malaysian actor-singer-composer Pete Teo), the cop investigating the disappearance of baby Bo -- get to suspecting that Wu may have kidnapped their young child.  

A strange psychological thriller-drama, not least in that much of the psychological dispositions and quirks of everyone concerned seems to be left to interpretation, Stranger Eyes was most interesting to me in terms of showing the surveillance devices and opportunities to observe others that various people, police but also civilians, neighbours and strangers have at their disposal in today's world.  Videos taken on phones and surveillance cameras are utilized but we also see how, and how much of themselves, people reveal on social media and such.  And how people can stay anonymous in crowds or when in uniform or just carrying out the kind of work and duties so routine that folks barely notice the person doing them.

 

Ironically, even while the people in Stranger Eyes are shown doing things, we actually don't hear them speaking, never mind actually qualitatively conversing, all that much.  So is the message of the movie that we can see but still not understand others around us, including those we live in close proximity to?  Maybe.  For the director -- rather frustratingly to my mind -- appears to have sought to keep his cards close to his chest as well as not wear his heart on his sleeve! 

 

My rating for this film: 6.5