Tout ira bien

Angie and Pat have been together for decades, and just hosted a mid-autumn festival dinner for Pat's biological family, who is less financially secure than Pat. The younger generation speak fondly of "Auntie Angie".

However, when Pat passes away in her sleep, Pat's family considers Angie to be just "a friend", ranking lower than family, overrides her wishes, and gradually pushes her out. Their lawyer friend points out all Pat's errors of omission. Refusing to sign a will (Pat is thinking of starting a new business in fashion retail, rather than acknowledging the possibility of death), executorship defaults to Pat's brother. Not leaving written funeral instructions means that the biological family takes charge. Not getting married abroad means that Angie has no moral standing, and not the little legal standing that such a paper could provide. Having the apartment only in Pat's name means Angie has no claim. The best Angie can do is to claim a dependency allowance from the estate.

As Angie loses battle after battle, it is her chosen family who provides emotional support.

This is allegedly based on real-life events, and shows the problems of not being prepared. Films with this theme showed up in North America a decade or two ago, but the problems mostly ended when same-sex marriage became legal. This is a reminder that the fight for rights still has to continue, but, before rights are established, care should be taken about legal issues.

Directed and written with subtle precision by Ray Yeung, this elliptical 2024 LGBTQ drama definitely tugs at the heartstrings but doesn't pull punches at key moments. The straightforward plot focuses on Pat and Angie, a longtime lesbian couple who have been living together in Pat's spacious apartment in Hong Kong. After they throw a mid-autumn festival dinner for Pat's immediate family, Pat passes unexpectedly. While the family initially shows genuine sympathy toward Angie, what unfolds is how legally unprotected she is since they weren't married. Although Pat provided financial support to her family, they each face hardships that slowly reveal their mercenary stance toward their legal inheritance. With her lesbian friends providing the only true support, Angie has to face the real possibility of getting kicked out of her home of over thirty years. Patra Au carries the film as the emotionally restrained Angie with much of her pain conveyed through heartbreaking medium close-up shots. Lin-Lin Li makes her few scenes count as Pat with her natural vibrancy. The rest of the cast is genuinely effective, especially in pivotal confrontation scenes that bring resonance to the familiar story of familial disenfranchisement.

Two women, Pat and Angie, have been happily living in their beautiful cozy apartment in Hong Kong for decades together. They support, both emotionally and financially, Pat's brother's family and always host family dinners and holiday events. There is no doubt whatsoever that Angie is part of this family, but will that change after Pat suddenly dies in her sleep one day?

At first glance, this film seems to be centered around the legal business that has to be done after somebody who had property to bequeath dies. However, deep down, it is nothing but a drama showing human relationships and how they evolve or deteriorate and what causes these changes to happen. It is about human behavior and conscience, and there's definitely a lot to learn.

Beautiful and delicate work, not to be missed.

They say that "blood is thicker than water," an observation that can manifest in many ways. This often becomes most apparent during times of crisis, such as when a death occurs or an inheritance is involved (money being on the line frequently speaks volumes). So it is in the fourth feature outing from writer-director Ray Yeung, which tells the touching story of long-tenured same-sex couple Angie (Patra Au) and Pat (Maggie Li Lin Lin), a duo very much in love. They've lived in the same Hong Kong apartment for 30 years and have enjoyed reasonably good relations with their relatives, most notably Pat's extended family. However, when Pat unexpectedly dies, matters become complicated, particularly when it comes to recognizing Angie's status and her relation to her late partner. That includes such issues as deciding the handling of Pat's remains, as well as the final dispensation of her considerable assets, including those she jointly held with her beloved. Relations suddenly become strained, if not downright ugly, with a woman they've long seemed to accept as a member of the family. This is especially apparent when Pat's relations try to grab all they can in an effort to solve the many fiscal problems that they've brought upon themselves. As all of this plays out, viewers thus witness the stark contrast that exists between the loving bond that the couple forged for one another and what Pat's relatives have created for themselves in their largely failed attempts at making a supposedly healthy and successful family, a comparison deftly and sensitively yet candidly presented by the filmmaker. While this story may not be especially original, its pacing can be a tad slow and its overall handling may at times be a little too deliberate, this picture nevertheless packs quite a powerful emotional punch, superbly depicted in the stellar performances of the excellent ensemble cast, backed by beautiful cinematography and a subdued atmospheric background score. "All Shall Be Well" is, without a doubt, one of 2024's underrated gems, a film that will both move and incense audiences, particularly when it comes to distinguishing what's legally permissible and what's ethically proper, especially in matters of love and what constitutes "family."

A sudden passing of a lesbian partner forces her surviving lover to face the true stance of her partner's family members. Against the backdrop of constricted Hong Kong, the movie will make you feel what the protagonist is going through as she is slowly cornered and pushed aside by her partner's family members. A trailblazer for Asian queer cinema, "All Shall Be Well" artfully encompasses age-old and generally unresolved issues of LGBT familial recognition and rightful possessions. Ray Yeung story-telling movingly guides us through the poignant drama that unfolds the realities of human duality. This latest directorial effort proves to be the best of his works by far.