Hua jiao zhi wei

Although the movie is slow, but the scenes that the two accidental sisters were not strange. Really like the scene that her father really loved her indeed, and even cried when she said she misses him. We should all value others when they are around.

The bright colours, the dragon dance, the funeral rites, the cooking scenes, the beautiful women, the melancholic, minimalistic scenes. It's generally very understated and subtle in terms of message and emotion, and I suppose that is also a reflection of its characters' inner lives and personalities. Things left unsaid, either from unwillingness or inability are a main theme of the movie. That's why the familial and romantic relationships suffer. It could also be a cultural thing, together with very loud displays of disapproval and even rejection as a twisted manifestation of love and care on the part of the older female generation. Of course towards the end there are some heart to heart scenes to heal wounds and build bridges and forgive and they may feel a bit out of character, but they are decent and somewhat natural compared to other movies that obviously force these things.

I loved the sisters and the fact that they are so different from each other in both personality and physique and that they have amazing and effortless chemistry and dad should have brought them together sooner. I was really judgy of him in the beginning but it turns out he wasn't just a horndog going from woman to woman. However, he did hurt them by not allowing them to be a real family together, especially since they felt so left out and estranged from their own mothers.

And really these actresses are phenomenal. And the movie deserves a lot more recognition. I guess it could be considered a feelgood movie, but also a very deep, heartwarming family drama. It takes a while to get to the feelgood part, but it does so gloriously.

This is more or less a standard story on how a woman come to term with his father, who has form families with two other women. This let me think of Little big women, depicting the the meeting of the original and second wife upon the funeral of the husband. The latter is more attractive me. It may be because o the Taiwan custom which is newer to me,or for some other reasons that is unexplainable. Or I simply like female director.

The present movie is slow and dull. It always show scenes that how the father love his restaurant workers, how he helps Sammy Cheng with the school dictation, how he follow the match of his Taiwan daughter. All are praising his dad. I just cannot figure out how Sammy could forgive his father with this little trivial things. His dad is really a Xxxx that cannot be forgiven.

(1) For the first time I experienced that, all of the audienced didn't even stand up until the end of the film fully played. It seems that all of the audiences are hongkonger except me. (2) The audience sitting in front of me cried, they seems to be a family of three. (3) I wish all compatriots on both sides of the Taiwan Strait and in four places a happy Mid-Autumn Festival.

There's hope for Hong Kong's cinema yet. Fagara passed our acid test with flying colours - throughout the 30-minute journey home, the missus and I were discussing the movie animatedly, drawing on parallels with our lives and little nuggets of nuances continued to surface. This is a gem and truly the first good film from Hong Kong this year that isn't an action genre flick.

The story pivots and pirouettes on Acacia (Sammi Cheng), a travel agent in Hong Kong who discovers she has two half-sisters after her estranged father Ha Leung (Kenny Bee) suddenly dies. One is Branch (Megan Lai), an androgynous professional snooker player in Taiwan, and the other is fashionista v-blogger Cherry (Li Xiaofeng), living in China. They meet at their father's funeral and a journey of self-discovery ensues.

I was pleasantly surprised by the opening scene which features a telephone conversation between a world weary looking Sammi Cheng and a two-timing customer. It wasn't what was said that confounded me; it was the fact that the entire conversation was in Cantonese that put a smile on my face. Finally, a Hong Kong movie that was left unmolested by the MDA (the Media Development Authority) and the Cantonese language sounded like music to my ears. Frankly, my government's insistence on dubbing all films and programmes that come from Hong Kong to mandarin has outlived its objectives. It's high time to leave these films untouched.

Hong Kong writer-director Heiward Mak's last mainstream hit was Love in a Puff (2010), a quirky look at modern romance, which she co-wrote. With Fagara, she has ascended a new level. With a drama about three sisters coming together after the sudden death of their father from three different mothers, it wouldn't be out of place for it to be emotionally coercive, but Mak demonstrates sublime restraint and astute instincts to steer the narrative in a different direction.

Fagara doesn't rush out of the blocks to tell its heartfelt story. Mak allows the newly-acquainted half-sisters to live and breathe, filling the scenes they are in with authenticity and authority. These are not soft and malleable women; they are their own women, owing no explanations for the paths they have chosen in life, giving the movie a wonderful freshness, relevance and clarity.

There is a focus on character detail, with the doling out of exposition and backstory happening throughout the course of the movie in luminous flashbacks. There are no weak characters here and the casting is exquisite. Sammi Cheng, without a smidgen of glamour, does the heavy lifting, and she is a revelation. Her weariness is palpable and her vulnerability permeates her entire being. Megan Lai and Li Xiaofeng fill their scenes with humility and humanism too. Using these well-drawn characters in their own spheres, Mak is making a point with the modern women who owe no one for the choices they make in life.

The writing is peppered with many life-affirming gems and most of the time they are delivered by Richie Jen and Andy Lau cameos. There is also much humour rendered by a cockroach and the kitchen.

Fagara is a well-crafted story of three half-sisters looking back into their painful pasts in order to venture forward into their futures with revitalised hope. It is filled with many nuances and it allows you the time to tease out its narrative subtleties on your own. Instead of ramming into your solar plexus, it gracefully touches you with its strong flavours and deep reds and browns. The whole thing actually feels like a Hirokazu Kore-eda meditation on the splintered family, and I mention Kore-eda's name with deep respect for Heiward Mak's craft.