Re dai yu

She has a lot to handle, father-in-law, failed fertilisation throughout 8 years, cheating husband and more than student relationship.

There are some mocking details I like such as bad female driver prejudice and chinese education not important in Singapore.

Although chinese is really difficult to learn. A fresh start after everything happened during wet season.

A Malaysian-born woman is married to a Singaporean man, and living in Singapore. She is busy. She is trying to get pregnant, and when her husband is not in the mood during her fertile period, resorts to using her husband's frozen product. She is the evening caretaker of her stroke-ridden father-in-law, who spends much time watching martial arts movies on TV. She is also a high school teacher in Mandarin, whose ethnic Chinese students are not motivated to learn their heritage language. When she tries to run a remedial class, it rapidly dwindles down to one student - who happens to be a martial arts artistic competitor. As the time for her duties overlap, the student develops a case of Hots for Teacher.

Seeing this at the Toronto International Film Festival with Q+A, the director mentioned that the wet monsoon season (and the time period of the film) lasts 6-8 weeks. The rain serves as an indication of the teacher's mental state, as well as acting as the soundtrack of the film. The backbone of the story is that Singapore kids are far more interested in English, the language of commerce, than their heritage. (Interestingly, the lone student interested in Mandarin suggests he might want to do business with China.)

Overall, a good film.

Teenage infatuation takes the front seat in Anthony Chen's second feature film Wet Season which by the time the drama ends gives you a feeling that is equal to what you feel when rains stop and the sun comes up in the sky with all its glory. With a proper blend of nuanced performances by the two lead able actors and subtle filmmaking, the story about a high school teacher and her inquisitive student and Wushu (Chinese Kung Fu) enthusiast moves with a pace that is bound to bring a smile to your face with its straightforward story, dry humour with enough stereotypical jibes between the characters, and unallayed emotional tension. The themes of invisible marital discord, anxiety about childlessness, caring the old, and teacher-student dynamics lines the simple plot with silver as the actors shoulder the entire film to turn it into what it is: an honest look at how such relationship start and how even they can be seen as pure despite the societal dogma. I like how Chen compares the discomfort of a monsoon season (a full-fledged one, I mean; not the joy of the first rains) with the proceedings of the film, which is only heightened by the facial expressions of the remarkably talented Yann Yann Yeo. The high school scenes are a pleasure to watch. I cannot stop gushing even though I wanted it to end at least 20 minutes earlier. TN.

(Watched and reviewed at its India premiere at the 21st MAMI Mumbai Film Festival.)

Still wondering why I liked it! Perhaps it was the acting, direction or... NO, that was it. Not too special of a story, but a DRAMA that's just gonna feel GOOD. Even got a STANDING OVATION at that screening. GO FOR IT!!!

In the grain of Taiwanese New Wave director Edward Yang and Hou-Hsiao Hsian, Anthony Chen's sophomore feature after Ilo Ilo establishes himself as a keen observer of unconventional relationships and Singapore realism. While the social commentary about Singapore's pragmatism and middle-class life was humorously played out with meticulous attention to the settings in the 90s during the Asian Financial Crisis in Ilo Ilo, the critique here is less layered, fleshed out more explicitly by how Chinese Language is sidelined and pursued only for economic interests, how the interaction between Ling the teacher and her principal centres on success and promotion, and how marital relations are reduced to discussions on surgical IVF treatments. Still, the themes of isolation and displacement are woven intricately through a monochromatic palette and sensitive characterization, anchored particularly by delicate performances from Yeo Yann Yann and Simon Yong, the Father-in-law who unwittingly assumes the role of a surrogate child who keeps the loveless couple together. For a local production, it is a bold take on a forbidden teacher-student relationship and Anthony's compassionate gaze carries the sombre, but predictable story with beautiful sensitivity. The wet season may mask our tears and the disillusionment from the Singapore dream, but it could also signal a fresh start to find the connections that make us human again.