(2018) Dramedy (China Lion) Vivian Wu, Haoyu Yang, Mason Lee, Zazie Beetz, David Rysdahl, Meng Li, McColl Cowan. Directed by Cathy Yan
In the “that’s something you don’t see every day” department, thousands of dead pigs were discovered floating in the waterways near Shanghai back in 2013. That was enough to give Chinese-American director Cathy Yan plenty of inspiration.
Old Wang (Yang) is a pig farmer who lives well beyond his means. While he happily supplies the insatiable need for pork in the city, he discovers all the money which he has invested in the stock market has been absconded with by his broker. Suddenly broke and in debt to loan sharks, he first visits his sister Candy Wang (Wu), the successful owner of a beauty salon for the dough. She’s having issues of her own however; a big development company is putting together a new multi-use complex and her property is the last one not to sell. All the others have been bulldozed so there is no neighborhood left but Candy stubbornly clings to the old, creaking and falling-apart house. Her brother begs her to sell so they can split the proceeds but Candy refuses.
Next Old Wang heads to his son Zhen (Lee) who he believes is a successful businessman. However, Zhen has been hiding the truth from his father; he’s merely a waiter at a suckling pig restaurant. He has also developed a crush on poor little rich girl Xia Xia (Li) who is diffidently going through life from one party to the next, sure her friends love her and shocked when she finds out that they don’t really care. Sean Landry (Rysdahl) is the ex-pat American architect for Golden Happiness which is heading the development threatening Candy’s home – ironically it is to be a recreation of a Spanish village. Sean has some skeletons in his closet of his own – he might have overstated his qualifications on his resume just a tad. He’s hoping this project will leapfrog him to the wealth, power and happiness he’s been chasing. Chasing Sean is Angie (Beetz) who runs a kind of dating service for affluent foreigners in Shanghai.
All will come to a head as the five entwined stories come together. The story ends on kind of a Hollywood-type ending that most film buffs will sniff out a mile away but that doesn’t take away from the pleasantly quirky debut that Yan has concocted with her feature debut. Veteran actress Wu steals the show, being the conscience of the film and despite her sometimes acerbic and grumpy persona, she has genuine reasons for taking the hopeless stand she does. Young Mason Lee, son of director Ang, shows some promise as the young besotted waiter and fills the screen with a kind of quiet decency that bodes well for a leading man future. Beetz who has begun a pretty solid climb to stardom herself is solid in little more than a cameo.
The film is nicely photographed by Federico Cesca and utilizes its Shanghai location nicely from the futuristic but largely sterile cityscapes to the much of the rural pig farms to the stark landscape of the bulldozed development-to-be. Antiseptic office spaces, kinetic nightclubs and fashionable restaurants also look dazzling under the watchful eye of Cesca.
This is what I would consider a twisted comedy with black accents but with enough heart to allow the flaws to be overlooked. It is certainly apropos and a parable of modern Chinese life – socioeconomic gaps, the loss of tradition in the rush to modernize, and the importance of family. This is definitely a solid debut and Yan a talent to keep an eye on.
REASONS TO SEE: It’s a very quirky film in all the right places. The cinematography is very nice.
REASONS TO AVOID: The ending is a little bit on the Hollywood side.
FAMILY VALUES: There is a little bit of profanity.
TRIVIAL PURSUIT: Zhangke Jia, who directed Ash is Purest White which is also playing the Miami Film Festival, executive produced this film.
CRITICAL MASS: As of 3/6/19: Rotten Tomatoes: 100% positive reviews: Metacritic: No score yet
COMPARISON SHOPPING: Kung Fu Hustle
FINAL RATING: 7/10
NEXT: The Nightingale