Manton29

A mature, beautifully executed slow burn crime flick with strong characters, a complex story, and plenty of reflection space ruptured by explosions of unglamourised violent action. Basically, the film depicts a mess of corruption and crime in the build up to Hong Kong's handover from Britain to China, as in Infernal Affairs II, focusing on three veteran gangsters in converging lines of action. Despite getting quite lost with some key aspects of the plot (watched on a plane, so small screen, and I imagine the English subtitles could have been improved upon) I generally felt solidly in touch with the three protagonists and their immediate short term goals, and remained secure that I was in the hands of highly competent filmmakers on both sides of the camera - some superb performances and very strong cinematography. Pardon the lack of polish here, but sometimes it's either that way or not posting at all, and I wanted to add some favourable comments to what little there is on here for this film. In the same ball park as the aforementioned Infernal Affairs II and maybe A Most Dangerous Year, maybe Black Mass. Quality cinema and a real discovery.

A family drama in which a successful stockbroker, married with a young son, is a accosted one night when arriving home by a course, dishevelled man claiming to be his hitherto- thought-dead father, who proceeds to invite himself to stay. The unwelcome guest is not easily waved away and gradually becomes part of the lives of the family. Meanwhile the firm the protagonist works for is teetering on the brink of bankruptcy, just as the picture of his origins his mother gave him is shaken up and thrown Into question.

The set up could be an eighties Hollywood comedy but this is something very different and far more subtle and complex. Somai resists exploiting emotional moments excessively, winning the respect and engagement of the audience rather than milking their emotions for simple catharsis, ultimately achieving a powerful and lastingly provocative film experience. Low-key writing; unobtrusive (and clearly inexpensive) camera work with little camera movement; seemingly little use of additional lighting; long takes; sparing use of close ups - all contribute to the disarmingly intimate experience of the family. This film reminded me of the work of Ozu Yasujiro. All the characters are fresh and unpredictable and there are many moments of humour and pathos, with some chickens in the yard playing an important role. Performances are top notch all the way, including the minor parts which feel like real lives glimpsed rather than decoration.

Highly recommended, and a worthy addition to any fan of Japanese cinema's viewing experience.