Tin shui wai dik yat yu ye

If you want to watch movies about special effects, explosives here & there or whatever, go rent Ironman or Transformers, this is Ann Hui's The Way We Are, some of you may complain of boredom, with the lack of pace in the story flow, I didn't, I wept.

What amazes me the most is it's simplicity, their daily lives, activities, family problems, those things that you might encounter everyday, & how to cherish them. You don't need to be an alien to become interested in this movie, if you feel bored, then this movie is definitely not for you.

I praise Ann's bravery in doing a film about our problems in life, especially in families, & she made me realize there is so much things in life than just fancy, branded goods & not to become enslaved by them.

Tagline: An excellent film about the basics of human beings…

Review by Neo: Sometimes, a film does not need to do much, nor does it require something extraordinarily to happen and it can still be a film that can relate, touch and affect one life. While, the usually dependable Ann Hui does not create a masterpiece, but it is probably safe to say that The Way We Are is very much a success story. After the bleakness shown in the city of sadness "Tin Shui Wai" with likes of Besieged City, the little Hong Kong city within borders of the mainland is filled with negative press, distinguishing of hopes and pure darkness. Here, director Hui is smart, by going back to the basics of filming, the very essence of human lives. The method taken is by filming a week or two in life of ordinary people. While it may seems that the film aren't doing much, not going anywhere, the film still somehow leaves the audience wanting more and leaving the credits with a glimpse of hope within the shambles.

Casting a ballet of untried actors in the likes of Bau Hei-Jing as the happy-go-lucky mother who works hard day and night to supporting her teenage son (Juno Leung Chun Lung) as a Duran fruit cutter and packer in the area's Welcome Supermarket. Life is not easy, in fact, it's difficult, but yet, Bau remains cheerful, hopeful and most important of all she is content of herself. On the other hand, we have her son, a reclusive young boy who prefers staying at home than going out. Then there are people who they bum into within their lives like the lonely grandmother living close by, or the random relatives who are much better off than they are. Not exactly a movie about the plot line or clever and intriguing premises, rather it is about the little things that happen in our real lives.

What makes the film work is that Ann Hui is very much a director who looks at human emotions, and the very fact that she does not create or fabricate emotions to affect the audience, but rather creates real emotions about the simple aspects of humanity and the happening. The casting of Bau is top notch, as she is natural enough for the audience to relate towards. Her optimistic nature, despite all that she has gone through makes her extremely human and ultimately realistic. Likewise, as her son, Juno Leung steps in with a good debut performance. In no situation does Leung tries to be acting, but instead remains real and without a moment of laughable overacting. Other supporting actors, such as the old granny, repeatedly making the same dish, further emphasis what happens when you get older and basically how people lives.

The Way We Are, is unlikely to splash any fire into Hong Kong cinema and nor does it attempt to. What Ann Hui is trying to show is that people in Tin Shui Wai are basically human and like all humans, we all need to eat, work and survive. There are little moments of happiness, sorrow, boredom, neutral and ultimately it is there basic human feelings that make this film works. Sometimes, criticizing something may well create some controversial, but at the end of the day, it remains rather subjective and opinionated. What Ann Hui is able to do, is at its very best being able to show something that seem more objective and somehow able to make the audience feel as though they are experiencing the experience firsthand. All in all, The Way We Are succeeds by showing the basic needs of humanity and ultimately, it is a day of reflection of our lives … (Neo 2009)

I rate it 9/10

• www.thehkneo.com

Unlike all the other Hong Kong action/comedy movies we're used to, this is a relative slow paced drama which offers an insight in the life of an average HK family, in this case the story is centered around a mother and teenage son. They don't have a lot of money and probably can just cope by but they still stay positive in life and this is what the filmmakers wanted to show us. The place of this story is Tin Shui Wai and over the years it has been in the HK news due all sorts of social problems like domestic violence, loneliness, debts, suicides etc. and with this movie the makers showed that -without being paternalistic or dramatic- we most not generalize all the people who live there and there's hope as long your attitude towards life is a positive one.

"Tin shui wai dik yat yu ye" ("The Way We Are" in English) is the first Ann Hui movie that I've seen, although I understand that she's a world-renowned director. The movie focuses on a widow and her son in a run-down part of Hong Kong. As the movie progresses, they meet other people, each with their own backstories.

This is sort of like a Jim Jarmusch movie, in that it's deliberately slow-moving and emphasizes the characters' relationships among each other. If you're the type who needs constant action, then you'll want to avoid this movie like the plague. Indeed, a previous reviewer found it pointless. I thought that it did a fair if not great job focusing on the people's interactions with each other in threadbare conditions. I think that it was in one of these sorts of apartments where Edward Snowden hid after exposing the NSA's spying apparatus, before he fled to Russia.

Apparently, durians have one of the strongest smells of any fruit.

Ann Hui, an internationally acclaimed Hong Kong director, is perhaps the closer soulmate to Mike Leigh in world cinema today. "The Way We Are" tells the story of a hardworking, good-hearted widow (Mrs. Cheung) who is living with his teenage son (Ka-on) in a housing estate in Tinshuiwai, a suburb regularly featured in the news for all the wrong reasons - family suicide packs, problem teens abusing drugs and massive unemployment.

At the start we see the two circling around in a tiny apartment with little communication, each trapped in their own worlds. Cheung works in the fruit counter in a supermarket, while Ka-on spends his summer vacation idling at home waiting for the results of his university entrance exam. Soon we are introduced to Cheung's extended family - then we learn that she spent her young adult life working hard in factories to support her two younger brothers, paid for their education and they've both since moved upward. But before she has her chance, her husband died and left her behind in a poor lower-class suburb.

Cheung soon befriends another widow, Granny, who's just moved in the same building. Granny has her grim tale - she was forced to live on her own after her only daughter died and her son-in-law remarried. Her grandson is now what remains of her "family", but he's sadly out of reach. She begins to imprison herself in her "single elderly" flat until Cheung slowly reaches out to her.

Then the somber tone of the story takes on an optimistic note. Cheung, ever so nurturing, takes Granny in and they soon bond to form their own support network. We also learn that Ka-on, despite the ear-ring and dyed hair, has inherited the strong, resilient and optimistic personality of his mother, ready and able to take up responsibilities to keep his little family together.

The relationship between Cheung and her brothers is also not as remote as it is suggested earlier in the film. While they're no longer as close and the brothers still put their own families before all else, they're here to help Cheung and Ka-on and willing to pay her back by promising to send Ka-on to study overseas if he should fail his exam.

At the end Granny's barriers have broken down, implanting herself in her new "family" and treating Ka-on like the grandson that she's no longer able to see ("Even when I die and become a spirit, I will continue to pray for his well being..") and there's still hope for happiness for both women.

Ann Hui's direction is bare but her fingerprints are everywhere. There are no comedic distraction to pull us out of the morbid tone of her characters' stories (like she did in "Summer Snow", dealing with the grimmer topics of aging and Alzheimer's disease). We instantly know what is in Cheung's mind (wonderfully plays by veteran TV actress Paw Hee-ching, deservedly named Best Actress in the HK Film Award) with every little gestures - that she's appreciative of having a good son with a hint of a smile, a loving expression that knows how life is still good and a light assuring grab of Granny's hand to pull her up from the dark pit of remorse.

While Hui is unique and successful in her own right, I can't help but thinking back to similar characters in Mike Leigh's films - Cheung has the same stubbornness of Poppy in "Happy-Go-Lucky", her relationship with the brothers is akin to the implicit blood-is-thicker-than-water bond Cynthia has with Maurice in "Secrets and Lies" and the overall "plotless" structure of storytelling is very much like "Life is Sweet".

And its lesson and massage maybe the same - that although life is hard for Cheung, Granny and Ka-on, it's still sweet and hope is everywhere as long as we still have the will to look for it.