Po · Dei juk

I'm usually adamant about even the saddest films, but somehow, this film made me cry like a baby. It explores themes that are so vivid and in such an in-depth way. It manages to combine both humour and sadness, and not only that but it excels at the timing and balance of it. I loved the vulnerability and character development. The relationship dynamic between the characters is so sweet and meaningful. The incredible film overall definitely changes your perspective on a lot of things, and dare I say it is a life-changing film. I wish I could rewatch this film again as if I did for the first time. I Love Michael hui btw.

A Hong Kong movie for the people of Hong Kong, it's been a while since the last time I've seen something like this. And the result shows. A testament that movies should be based on quality and not for the wider market only then can you create something that truly transcends to everyone. The Last Dance delves into an ancient tradition of the Canton people, and looks at how something like this affects the society of today. And by looking at the deceased, can we truly appreciate the living. A wonderfully created, dynamic film that has more to do with emotions, families than the topic itself and the box office is its best testament. Perhaps more impressive is the immaculate cinematography, it's so picturesque yet soaked in tradition and culture.

Giving this an 8/10 rating

Latest from writer director Anselm Chan, and it's a topper, a proper drama about a subject that really does not get screen time. This is a great film by him and a good acting choice by Dayo Wong, who is nothing short of brilliant in everything he is in, but this performance and this role, it's a big ask and pulls it off.

A film about death nd the effects on the living, it must be handled with great care and can be a minefield, add humour and it can be a disaster, this is a almost perfect film that does this right, and there is a lesson to be learnt out of it.

Michael Hui, Michelle Wai and Pak Hon Chu are just so good and play off each other and cause Dayo Wong's character chaos. And he has plenty of that, which causes him all sorts but he grows and grows, and the last act of the film, which is the title, just finishes what is a great film off. The film is playing to packed cinemas here in London, for a good reason, it's got Dayo Wong, on top form, and I will travel to see what he is in.

"Dominic" (Dayo Wong) is struggling to make ends meet, post COVID, with his business in tatters and his repayment bills at almost $13,000 per month. He's not afraid of hard work, though, so when his "Uncle Ming" (Paul Chun) offers him his share in a funeral parlour he jumps at the chance. His partner - rather sarcastically referred to as "Hello Man" (Michael Hui) comes across as a rather curmudgeonly fellow - a traditionalist Taoist priest who lives with his ambulance-driving daughter "Yuet" (Michelle Wai) and his favourite son "Ben" (Pak Hon Chu) who is attempting to follow in his father's footsteps. Thing is, in his excitement to get the job done and to make enough money to clear his debts, he makes quite a few schoolboy errors at the start that are way more lively to offend the ancestors than send them peaceably on their way to the next life, and that just irks the older man who feels his new pal is disrespectful. As the story unfolds, we follow a young man who learns a little more about a business that is really anything but. At times this is quite a funny story, with a special appearance by a full-sized, papier-mâché, yellow Maserati rather summing up the ineptness of "Dominic" as he strives for success, but that humour rather quickly evaporates leaving us with a familial drama the can be quite poignant at times as it looks at the restricting roles for women and the hereditary responsibility of sons. Given the professions of the characters, grief is never far away and we focus quiet tenderly at times at just how people come to terms with that - or not, whilst we also try to reconcile just how families themselves change from generation to generation, with some tough decisions having to be made that centre around "Ben" and his need to look forward and not back. The acting is engaging and the dialogue well written, allowing the action to do plenty of the work without subjecting us to a constant surfeit of chatter, and it handles the topic of death and the provisions we make to deal with it and it's aftermath sensitively.

I snuck into this film expecting absolutely nothing, since I was unaware of even its title. Asians dominated the crowd of 25 matinee, so I figured it was an Asian film. This was such a beautiful experience to have unfold before me. Standup comic Dayo Wong is Dominic. His wedding planning business went bust during Hong Kong Covid. But his girlfriend's retiring Uncle Ming has turned over his half stake in his funeral business to him. The other half is held by Master Man (Michael Hui), a well regarded Taoist priest. MM lives with his ambulance driver daughter Yuet (Michelle Wai) and son Ben, who is continuing the Taoist tradition. Ben in turn has a wife and son. Dom visits often. He implements a lot of wacky money making ideas. But it's also a very dramatic film. The priest performs the "breaking hell's gate" ritual, which liberates dead souls so they can move on, as he did with his own deceased wife. Women are forbidden from such jobs, and Yuet is still holding a grudge. All the characters are very well developed. There are beautiful establishing shots of Hong Kong. I was very moved by the film and there was detectable crying in the audience. I would definitely try to see it. It was first released in HK, England, then Ireland. Now the US in very limited release. Anselm Chan is a fine writer/director.