I covered Roseanne Liang’s most recent film Shadow in the Cloud (2020) yesterday, and this is her debut feature, though she has a 2008 short called Take 3 (which is included on the NZ DVD, and is particularly excellent). It hits a lot of the elements that you find in many romcoms and also casts the prolific Cheng Pei-pei as the mother, so you can’t really go wrong.
I think this would do pretty well as a Netflix original movie, given the lightness with which it plays out its romcom elements, along with the serious culture-clash drama of familial expectations that’s an undercurrent of the central romance. It coasts by on a fair deal of charm, though its lead actor Michelle Ang is very capable at delivering just the right level of adorable yet quirky that the script demands. This is especially notable given that her on-screen boyfriend is written as such a demanding asshole at times, and while I imagine she is supposed to be equally difficult (what with her avoidance of revealing her relationship to her parents), Ang’s skill at comedic delivery makes her seem far more reasonable — but then again, the romcom genre has always been adept at covering up behaviour that would be awful in any other circumstance. It also doesn’t hurt that the immortal Cheng Pei-pei plays her mother. As a whole it can be a little clunky at times, but there’s an exuberance to the story that belies its presumably small budget (what other level of budget do NZ films even have, that one beardy guy aside).
Director/Writer Roseanne Liang; Cinematographer Richard Harling; Starring Michelle Ang, Matt Whelan, Cheng Pei-pei 郑佩佩, Kenneth Tsang 曾江; Length 88 minutes.
Seen at home (DVD), Wellington, Tuesday 23 February 2021.
Moving onto another quite different NZ film from the documentary I reviewed yesterday, there’s this. Roseanne Liang is a NZ-born and raised director who made an interesting debut (which I shall cover later in the week) and went on a few years later — presumably it took time to bring the project together — to make this utterly ridiculous B-movie action horror thriller, which I really enjoyed but certainly pulled down mixed reviews.
I saw the trailer for this and it seemed like something I’d definitely not want to watch. After all, I’m hardly the biggest fan of the lead actor (though she’s been in some good films), and it looked silly. Well, it is silly. It is beyond absurd. But the thing about starting from a place of absurdity is that you can pretty much do anything, and this film goes to places other films don’t, or at least not since that classic era of weird off-the-wall B-movies (the 50s? maybe the 70s). It takes its low-budget constrictions and spins them off into all kinds of things in its taut running time: an intense horror-inflected chamber psychodrama; a film about toxic masculinity in war; an emotional story of domestic abuse and motherhood; an alien film; a WW2 fighter film; the kind of action film where characters climb across the outside of a moving plane; and a bunch of other stuff, although I feel that this much is in the trailer if you’re attentive. And somehow, despite the involvement of screenwriter M*x L*nd*s (who I can only assume contributed the misogyny, though that’s one of the film’s themes, and it’s pretty clear that it’s very much set against it), it all seems to work somehow — or at least it does for me. I can imagine other people finding this just downright bad, but I think it might be some kind of masterpiece. It certainly deserves a release on one of those psychotronic video labels in maybe 50 years as an undiscovered classic.
Director Roseanne Liang; Writers Max Landis and Liang; Cinematographer Kit Fraser; Starring Chloë Grace Moretz, Taylor John Smith, Nick Robinson; Length 83 minutes.
Seen at the Light House Cuba, Wellington, Tuesday 16 February 2021.