Lilting

This is the debut feature film for Hong Khaou, and being of Cambodian descent, I imagine this movie may be semi-autobiographical, though that is obviously pure speculation. This interesting little film (running on an insanely low budget of 12,000 pounds if I am not mistaken) is about a Chinese-Cambodian elderly woman, Junn (veteran actress Pei-Pei Chang), who has just lost her son Kai, not long after he put her into a home. He was gay, but could never bring himself to tell his mother. This was the reason she ended up in the home and not living with him and his boyfriend Richard (Ben Whishaw).

When Richard enters the fold initially he seems like a stranger, at least as far as Junn is concerned, and to make it harder, he can't communicate with Junn as she can speak 8 different dialects, but refuses to learn English despite living in the UK. Despite their differences, despite the overwhelming obstacles to hurdle, Richard is not intending on giving up trying to talk to his partner's mother. They share the same pain, but Junn has no idea of this. Since Junn doesn't know about the same-sex relationship her son was having, Richard's job becomes at least twice as tough, as he has to act as Kai's 'best friend', trying to connect with Junn that they both are sharing the same misery, the same loneliness and sense of loss after losing a loved one.

Along the way Junn meets a gentleman who is also a resident at the home. Playing an amusingly dry old codger, Peter Bowles as Alan is smitten by Junn, yet they have no way of truly communicating. Richard rectifies this by hiring a translator, which helps both Alan and Richard as it opens up a dialog between the different parties, for better or worse. Richard continues to go to endless lengths to try and communicate and help Junn overcome her son's death, as unwilling as she seems, as well as trying to help negotiate the problems Junn and Alan are having; it seems the possibility of a relationship with Alan may be slim. And so the story goes, moving from this premise into emotional territory where each character's decision is not easy, and someone as stubborn as Junn makes life difficult for Richard and the translator he has to help smooth the process… Which doesn't go as smoothly as planned.

This film is extremely depressing at points and heartwarming at others. It is nice to see a film with a real heart without dipping into overly sentimental trite. The true unforgettable message that this film gave me was how it illustrated how culture can truly alienate us; from loved ones, from people who want to help. But at the same time, it highlights elements of the human condition that transcend culture, such as family, or music. I didn't think I'd enjoy this as much as I did, it isn't my type of film really. But I really liked it. Probably also because I have seen how truly heart-breaking it is to make that decision to put a parent/grandparent in a home really is. It ain't pretty.

8/10 - If you aren't looking for action, and are interested in watching a more thought-provoking movie that really will pull at your emotions, check this one out. The absurdly low budget is not noticeable at all, especially given the quality of the production, from the perfect sequence of scenes, to the subtle but interesting photography work and the minimal but effective soundtrack.

This isn't a film that I will revisit immediately, unlike many others than have been released this year. But I know that a time will come where I suddenly will have to put this on. It is a powerful, emotional film that subtly comments on the differences of cultures and/or language, the stigma that is still attached to same-sex couples, especially among older, more 'traditional' people, but most importantly, a few key scenes show us that differences in culture, in language, in beliefs, can be transcended, and no matter what the barriers between communication may be, humanity can prevail.

It is not impossible to share true, meaningful moments with someone who cannot speak a word of your language. This film excels at showing this, linking us all as human, no matter our colour, our culture or our beliefs.

more than a film, a gem. touching, seductive, poetic, delicate, a kind of spring morning. a film about fundamental small things. but not only the script is special but the rare and impressive art to use the right measure. because it is a gentle job, splendid for music and for the nuances of acting, for image and for the translation of clash between worlds, the form of memories, the silk touch, the great job of Pei+Pei Cheng.a film who has an unique delicacy , maybe not great but useful for each scene. a kind of dance with a spectacular choreography. it is difficult to define more than a happy discover. so, see it. it could be one from expected films.

Absolutely loved this movie. As a Australian Chinese with a family who speak a language other than English, this movie made me appreciate my relationship with my partner and his relationship with my parents even more. The music combined with the cinematography evoked profound emotions in the viewers. Ben Whishaw and Cheng Pei Pei gave stellar performances. The story is well told without too many dialogues, the acting says it all. Somethings are better left unsaid. Love it a lot!!! Watched it twice already and still want to watch it again!! It is quite a hidden gem. Glad I found it. Reminds me of another Asian gay themed movie called "Saving face" but a lot more sombre.

Superficially speaking, the subject of LILTING resembles that of LOST IN TRANSLATION (2003), as Junn, a Cambodian Chinese mother (Pei-pei Cheng) living in London mourns the loss of her son Kai (Andrew Leung), while trying and failing to communicate with those around her. Kai's boyfriend Richard (Ben Whishaw), wants to help her, and engages the service of Vann, a translator (Naomi Christie) so that communication between himself and Junn might be improved. Meanwhile Alan (Peter Bowles), an elderly man, embarks on his own pursuit of Junn's hand.

However Hong Khaou's film looks at the difficulties of communication at a much deeper level than the purely linguistic. He invites us to reflect on the wisdom of Kai's decision to put his mother in sheltered accommodation, whose dingy décor is designed to make elderly people 'feel better.' Despite Richard's basic kindness and his protestations of endless love for Kai, we wonder whether he actually understand what either Kai or Junn actually think. Maybe it's not really necessary to hire a translator: communication between individuals can take place at a subliminal level. Vann does her best to act as an intermediary between Junn and Richard, or Junn and Alan, but it's clear that her role is a peripheral one in the drama of familial relationships across cultures.

Shot in deliberately dark colors, LILTING depicts a world whose protagonists live in perpetual isolation, both literal as well as psychological. Junn's sheltered accommodation is both dark and prison-like; her fellow-residents seldom communicate except in clichés (Alan included). Richard's apartment is full of long, brick-lined passages; his kitchen is full of dirty cutlery, suggesting a fundamental inability to cope with life.

Our relationship with the two central protagonists is a complex one. Whishaw tries his best to render Richard a sympathetic character, but the more effort he makes to try and bridge the cultural differences separating himself from Junn, the more frustrated he becomes. His final outburst, where he accuses Junn of failing to "assimilate" to contemporary British cultures, is a classic colonialist statement, leaving us to reflect on why he himself did not do more to adapt himself to her mores. By contrast Junn remains both silent and serene; her final soliloquy reveals her determination to continue her existence, despite the prospect of future loneliness. She does not need to "assimilate"; she has found her own way to negotiate the culture she inhabits.

Modestly budgeted yet memorably staged by a director with an obvious affinity for the material, LILTING is an absorbing cinematic experience.

A British guy trying to make a connection with the conservative Chinese mother of his deceased partner; the theme and the gloomy cinematography make you sad even before the story begins to unfold. Communication is the main problem over here. They somehow manage with the help of a translator, and I like how they sometimes say things and then tell the translator not to translate it (because they realise how it would sound). This leads to few funny moments occasionally.

The movie has a really good start, but after halfway through, the Director/Writer loses his way; it seemed as if he's not sure as to where to take the story. By the time it ended, I felt dissatisfied; the story should have been longer or the characters should have been explored and developed a little more.

The two leads, Ben Whishaw and Pei-pei Cheng, give quite strong and incredible performances; they have a few immensely moving scenes. And it doesn't hurt that Andrew Leung, the actor playing the deceased partner, is quite handsome; he and Ben looked quite good together, which makes his death even more painful.

The conversations the two lead characters share are quite moving and thought-provoking, and the monologue Junn has towards the end on the essence of grief and crying is really beautiful. Let me quote the most effective lines from it: "These memories are all I have; I need to keep them vivid, or they'll fade like the face of my husband. I want to dwell on these memories and cry over them because they comfort me. Through plenty of crying, I've learnt to be content that I won't always be happy, secure in my loneliness, hopeful that I'll be able to cope."

The movie is depressing, yet uplifting, but somehow I feel, it failed to reach its true potential.