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| A fragrance falls upon the body and gives off different scents. A sense of unfulfillment and a gay sensibility permeate the film. Its desire is to construct upon a foundation that the mainstream identifies - the disintegration of the family - certain undercurrents, i.e. the establishment of a family. The youthful passion that challenges the mainstream in LOVE UNTO WASTE is sublimated. The sorrow remains, but there is also a sense of calmness and serenity. Here Sunny Chan, the reincarnation of Chow Yun-fat in LOVE, is able to start afresh. Film is most open addressing the distance between homosexuality and heterosexuality, as seen in the friendship of Chan and Eric Tsang. Neither sorrow nor regret, but an exchange of heart-felt feelings. As automobiles traverse the Tsing Ma Bridge, a city confronting unknown undercurrents come into being. The sense of disquiet cuts so much deeper impression than ''promise me that you will live on.'' The most moving scene so far in Hong Kong cinema this year. |
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| | | | | Two Chingmy Yaus - one happily married and jetsets between Hong Kong and Taipei, only to die in a plane crash and become a ghost in her husband's memory; the other we only catch a glimpse at the airport. One Eric Tsang, a caring gay man who's unfortunate in love. One young man looking for love and drifting between Hong Kong and Taiwan. And one quarter Sandra Ng. Together they make an interesting tale complete with Wong Kar-wai-esque characters and narrative a la Kieslowski. God knows why but Stanley Kwan has remade himself into a new director. Everything appears uncertain; even the narrative seems hesitant. He is making progress, but wanting in judgment and confidence. | | LOG IN TO COMMENT ON THIS REVIEW! |
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| | | | | Piling homosexual love, bisexual love and heterosexual love up and on top of one another, the story causes suffocation. The Tsing Ma Bridge, an emotional metaphor ''crossing over'' Taiwan, is confounding. But the film's narrative structure, editing and music are capable of covering up its lack of substance. In other words, Stanley Kwan scores his points more by technique than content. Sandra Ng's character serves no discernible function and is entirely superfluous, and makes an already oppressive film even more cumbersome. | | LOG IN TO COMMENT ON THIS REVIEW! |
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| | | | | Stanley Kwan's strength is his sensitivity about daily life. In this respect the film is both exquisite and transparent. The scenes are simple but the emotions run deep. Kwan is especially perceptive in depicting solitude. The young couple shares a flat but not their lives. Yet a bowl of instant noodles is enough to bring them closer to each other. To hold you tight is nothing more than the desire for human warmth. Juxtapose the spotlessly clean monitor screen against the misses' lonely heart and there is great sadness. A cold and pale oppression permeates the film, and only finds release towards the end when Eric Tsang and Sunny Chan have a heart-to-heart talk on the beach. Will tragedy repeat itself? The best things in life may not be unapproachable. Everything is possible if one can gather oneself. The happy ending reminds me of LOVE UNTO WASTE. | | LOG IN TO COMMENT ON THIS REVIEW! |
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