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