Reportedly an autobiographical tale about her relationship with her mother, Ann Hui weaves complex character relations across the borders in both past- and present political times, making no new friends or inviting anyone smoothly into her underplayed cinema. Yes, it does make for distanced but worthy viewing, which is something a seasoned Hui fan would be very much aware of. Song of The Exile does travel a bit further than beyond the simple antagonistic relationship at the heart of the film and is therefore probably a flick MOST appreciated upon multiple viewing or rather by the audience around the filmmaker. I'm not complaining.

Talking about the emotional distance, distance across the borders running through the characters, Maggie Cheung's Hueyin has felt forsaken by her mother and chosen the Macau based grandparents (grandfather played by veteran Tien Feng) as her preferred authority figures. Boarding school and study abroad ends up being her path, being a fair amount in touch with the 60s and 70s war- and political turmoil. Part a choice again as a bit of a rebellious act towards her mother who doesn't view political demonstrations as a good thing, Hui then gently takes us on the awakening journey as the film takes flight to Japan. The gentle surprise of the film is of course Hueyin's prior realization (last of the children to find out even) that her mother is not Chinese but Japanese, explaining distance in this regard and the defiance. In both parties.

It's credit to Hui and writer Wu Nien-Jen (Osmanthus Alley, also starring Luk Siu-Fan) that the mother-daughter act isn't going down well-worn roads even though it's a classic clash. The mother even revolts against the daughter in her quest to finally mend wounds and all the way through each old friend she reacquaints herself with in Japan, so many similarities concerning betrayal of tradition and family pops up, with Hui suitably being quiet about her wishes for the viewer.

The choice is correct even though never affecting to the point of outbreak into tears in the viewer (although my male macho button may have something to do with that) but it's quite easy to appreciate the personal story presented before us, one rife with affection. Affection that doesn't mean the world eventually turned into a perfect place for Hui. Her political subplot is indeed that, the subplot and while crucial to many character aspects, Song Of The Exile really is about two journeys. The challenge mentioned may lay in the unexpected web of depth the film presents but with multiple viewings, nuances are surely bound to come out. Something that is applicable to the fitting performances by Maggie Cheung and Luk Siu-Fan (playing old AND young as in Osmanthus Alley but again impressively).

Ann Hui's work may have gelled the instantly elsewhere (The Story Of Woo Viet, Summer Snow, Eighteen Springs) but it's well worth it when her cinema slowly creeps up on you, even as a reviewer finishes his or her final thoughts in the ending paragraph. It's Hong Kong cinema distancing itself from its usually associated traits but it's there for the taking, even by smaller number of people. I'm sure Ann would agree that as long as she gets to make movies, small appreciation is quite all right. The emotional journey taken to home grounds in reality and in the movie surely was worth it as well.