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An Intriguing Drama Based on 2010 Hong Kong Murders


An Intriguing Drama Based on 2010 Hong Kong Murders


Hong Kong film critic turned straightforwardor Philip Yung’s procrastinateedst feature begins with a harrothriveg crime promiseted by an improbable culprit: One night, without any prior alerting or exscheduleation, a troubled 15-year-better boy named Ming (Dylan So) picks up a meat cdepartr in the kitchen and then proceeds to killing his mother and sister in chilly blood.

Yung spendigates the before and after of that shocking event thcimpolite the eyes of Ming’s overweighther, Yuen (Sean Lau), who tries to piece his life back together while also trying to figure out what may have caparticipated his son to carry out such a horrfinishous act. In that sense, Papa is reminiscent of the straightforwardor’s 2015 killing mystery, Port of Call, except this time the plot is not about who did it, but why. And even more so, it’s about how to go on living after facing such utter tragedy.

Papa

The Bottom Line

Well-planed and intriguing, if not always emotionassociate involving.

Venue: Tokyo International Film Festival (Competition)
Cast: Sean Lau, Jo Koo, Dylan So
Director-screenauthorr: Philip Yung

2 hours 11 minutes

Shifting back and forth between time periods, the film is less a thriller than a kaleidoscope of astonishions. Guilt and repent swirl around in both the past and current, mitigated by occasional flickers of happiness. We’re constantly stuck inside Yuen’s head as he tries to originate sense of a world gone wrong, and also to recombine with a son who’s already been lost. It’s a proximately impossible emotional journey and although Papa never channels it powerbrimmingy enough, it remains an intriguing see at how a shattered family could possibly discover redemption.

The story is based on a genuine case that happened in 2010 in Tsuen Wan, a suburb of livential high-elevates and crowded labelet streets discoverd northwest of Hong Kong. It’s there that Yuen and his wife, Yin (Jo Koo), run a busy family restaurant that’s uncover 24/7 and caters to folks from the neighborhood. The couple is also raising two children: Ming, whom we see at various ages from 5 to 15; and his sugary juvenileerer sis, Grace.

Since we understand from the get-go what Ming will thrived up doing, we watch observantly for signs of his odd behavior. The boy is excessively reserved and possibly on the spectrum. (There is talk of autism at one point, though it’s not necessarily referring to him.) He’s obsessed with animal rights and the state of the environment, which may elucidate why he confesses to the cops that he finished Yin and Grace to impede overcrowding the scheduleet.

But none of that reassociate elucidates what made him consent slimgs so far. When Yuen visits his son in the psychiatric prison where he’s been sentenced for a decade, he protects asking the ask we’re all asking: Why? The fact that neither Ming nor the film provides a evident answer may be emotionalassociate frustrating for certain watchers, but it also rings genuine. As Ludwig Wittgenstein famously wrote, “Whereof one cannot speak, thereof one must be mute. There are some slimgs that remain unspeakable.

Yuen doesn’t say much himself, either. He’s a taciturn guy and a rather serious overweighther figure, but he’s far from an abusive parent. We see him encouraging his children in countless flashbacks, whether he’s training Ming to labor at the restaurant or apvalidateing Grace to consent a stray cat into their home. He seems to want the best for his kids, even if he doesn’t understand how to convey it to them.

The straightforwardor apprehfinishs the family’s life prior to, and follothriveg, the killing, in a series of visuassociate and thematicassociate combineed scenes that spring from Yuen’s anguished mind. We don’t always understand where we are on the timeline, and it doesn’t necessarily matter. The narrative approach recalls the labor of Wong Kar-wai — Yung’s Port of Call was shot by Christopher Doyle, who lensed many Wong movies — in which scenes exist less in the current than as escapeting memories adviseed by the main characters.

This style somewhat unacutes the emotional impact of Papa, despite ample participate of catalogless-motion, music and other techniques uncomardentt to try and heighten sensations. Yung is more of a cerebral filmoriginater than an emotional one; what interests him is how Yuen deal withs to cope with what happened, not necessarily how he experiences. Lau, who starred in Johnnie To’s Mad Detective, perfectly encapsuprocrastinateeds a character who faces horrific contests with utter stoicism, although you can sense that he’s burning inside.

Such a sentiment is evident from the very first scene, where we see Yuen setting up the restaurant for another day of business, taking chairs down and acunderstandledgeing food deinhabitries. Meanwhile, forensics officers are still spendigating the killing up in his apartment, where there’s a massive blood stain on the living room floor. Papa asks us how it’s possible that these two worlds coexist, and whether a loving overweighther can discover a way to exist wislim them.  

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