Last week’s new release also takes us back to last week’s themed week, which was what I termed ‘Asian diaspora cinema’, which deals with Asian identities in the West, and this one tells of a clash of cultures between the US and China, two of the modern world’s great competing superpowers, through the story of Awkwafina’s suitably awkward artist.
This is a sweet, reflective film that doesn’t shout too loudly, though occasionally the characters in it try to make statements about what it means to live and die, at least in Chinese society. In that respect, having the young family members — most notably Awkwafina’s budding writer Billi — having grown up in different countries meant that it got to explain things a little bit, which is probably just as well given the central conceit is the idea of not telling a dying person that they are dying (or “based on an actual lie” as the film puts it on its first title card). Billi is a muted presence, which already marks a change from Awkwafina’s usual on-screen persona, though it does mean she shuffles around in a slump, looking dejected and sad for rather too much of the film, even as those around her are trying to encourage her to fake a smile — to the extent that I found it hard to believe grandma (and I don’t think she’s ever named aside from the Mandarin Chinese word for grandmother 奶奶 nai nai) didn’t immediately figure out what was going on. Still, there’s a lot of unforced emotional heft just from the set-up, as well as an examination of what it means to be torn between two very different cultures (the film itself is fairly scrupulously balanced, and avoids denigrating either). The final credits reveal therefore comes as rather a surprise, but it’s a sweet end to what’s otherwise quite the weepie.
Director/Writer Lulu Wang 王子逸 (based on Wang’s story “What You Don’t Know”); Cinematographer Anna Franquesa Solano; Starring Awkwafina, Zhao Shuzhen 赵淑珍, Tzi Ma 馬泰, Diana Lin 林晓杰; Length 98 minutes.
Seen at Curzon Bloomsbury, London, Thursday 26 September 2019.