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where faith and film are intertwined

Film

The Summit of the Gods – An existential “why?”

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Why do people (now a few thousand) climb Mt. Everest? George Mallory (who may or may not have been the first to reach the summit) famously answered the question by saying, “Because it’s there.” But there has to be more to it than that. Mountaineering is a dangerous, often lethal, activity. In The Summit of the Gods, directed by Patrick Imbert, the question of why someone may focus on a near impossible task is central.

This beautifully animated film is based on a manga series by Jirô Taniguchi, which was in turn based on a novel by Baku Yamemakura. When the manga series reached Europe many years after their original publication, they came to the attention of a French producer who started the process of making this film. (Which explains why the film features Japanese characters speaking French.) The animation creates a world of majestic and awe-inspiring mountains, as well as tense, exciting climbing sequences.

The story starts with Fukamachi Makoto, a photojournalist who has gone to Everest to get shots of Japanese climbers, when their attempt fails, he wonders what the point is off all this. But in a Kathmandu bar, he sees a camera that is reputed to have belonged to George Mallory. He later sees Habu Jôji, a climber who no one has heard from for years, with the camera. The idea that it is Mallory’s camera and could answer the question if he and his climbing partners had reached the summit becomes an obsession for Fukamachi, who begins to seek out Habu.

As the story progresses, it shifts from time to time to give us more information on Habu and the accidents that have shaped his view of climbing. He is very aware of the dangers of any mountain, but especially Everest. Fukamachi finds him as he’s preparing a solo ascent of the Southwest face, a particularly difficult climb. Fukamachi sets up at the basecamp and awaits Habu, planning on documenting his ascent.

Both Habu and Fukamachi are obsessed: Habu with doing something no one has done, and Fukamachi with finding Mallory’s camera. We might think of Fukamachi as something of Ishmael to Habu’s Ahab. The question of why they are doing this is always in the background. But it also becomes explicit. There is a point where each man asks the other, why they are there. Another question is why the summit matters more than life itself.

Each man has his own reasons, but it brings them both to the same place. They have each chosen a focus that they hope will heal an existential angst within them. So they come to believe that whether they survive or not is of less importance that what they are doing. They are committing their lives (and possibly their deaths) to their obsessions. The amazing vistas the animation creates serve to add even more depth to these philosophical ponderings.

The Summit of the Gods can be seen in select theaters and on Netflix.

Photos courtesy of Netflix.

The Last Rite: The Scariness of the Sacred

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Sometimes, the scariest horror films are the ones that spend the least amount of time trying to scare you.

The Last Rite tells the story of Lucy (Bethan Waller), a young woman struggling with sleep paralysis. Though she lives happily with her boyfriend Ben (Johnny Flemming), she is plagued by a dark shadowy figure determined to destroy her. Haunted by this demonic entity, Lucy pleads with Ben to believe her stories yet he remains skeptical. Eventually, Lucy reaches out to Father Roberts (Kit Smith), a priest who has never dealt with the forces of darkness directly. Even so, Father Roberts remains determined to help the young woman and sets out on a journey that may help him rediscover the depth of his faith in the process.

Written and directed by Leroy Kincaid, The Last Rite is an intriguing and terrifying exploration of the relationship between reality and the paranormal. Despite the deeply spiritual nature of his script, Kincaid grounds his film in such a way that it feels real. Relatively scant on the special effects of other big budget horror entries, Rite tells its story well enough that the film’s minimal use of effects feels just as scary. There is a simplicity to this story that never allows the film to open the door for larger conversations about spiritual realities while still offering all the necessary frights.

Based on his own spiritual musings and experiences, Kincaid has woven a tale which feels like two different films. On the one hand, he follows the evolving (dissolving?) relationship between Ben and Lucy. Although they have been together for some time, Lucy’s visions begin to expose the lack of trust that may exist between them. Although Lucy swears by what she has seen and felt, Ben struggles to believe her. To him, the paranormal is simply nonsense and he refuses to accept her stories. At the same time, Lucy’s experiences also trigger past traumas from her childhood that she has never felt comfortable sharing with her partner. As the intensity of her encounters with the man in the hat increases so too does the divide between the young couple as their issues begin to drive them apart.

At the same time, Kincaid spends a surprising amount of time investing in the character of Father Roberts. After he is contacted by Lucy, Father Roberts’ arc rises in prominence as he wrestles not only with the forces of evil but his own journey of faith. Although he remains devout in his beliefs, Father Roberts is a man who seems to struggle with the realities of the spiritual world. Advising Lucy to try ‘praying about [her situation]’, he looks to remain a safe distance from any particular spiritual engagement. However, when he realizes how serious the situation has become, his battle moves beyond the demonic. Whether he’s debating with fellow (ex)clergy or battling bureaucracy, Father Roberts’ greatest battle seems to be within the church itself. Through his insistence that Lucy get the help that she needs, Father Roberts seems to expose the fact that the church itself struggles to believe the spiritual realities of this world.

In this way, Rite becomes as much about rediscovering one’s faith as it does about fighting demons. From Father Roberts to Ben, many of the characters within this world have difficulties seeing past their own spiritual blinders. Dissatisfaction with the things God has (or hasn’t) done, spiritual trauma or simply a lack of spiritual awareness/interest all temper Kincaid’s characters and prevent them from initially engaging the oncoming terror that awaits. However, as their eyes are opened, their view of the world becomes larger. With this broader understanding of spiritual realities comes greater fear… but it also brings hope. With the darkness exposed, these characters have no choice but to cling to the light which potentially creates healing.

Sharply written and executed, Last Rite proves that the most terrifying truths about the world may lie in our blindness to them. Though the topic is far from new, Kincaid’s interest in balancing his jump scares with conversations surrounding spiritual realities allows him to create a film which challenges conventional horror tropes. Unlike most horror films, this isn’t a film merely content to explore the effect of the shadows.

For Kincaid, this is a chance to explore the light.

To hear our conversation with Leroy Kincaid, click here (YouTube) or here (audio)

The Last Rite is now playing on VOD.

Julia: For the Love of Cooking

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Some people love cooking while others cook for the sake of love.

Beginning with her conservative childhood, the new documentary Julia explores the life and love of television icon, Julia Child. After her time in the military, Child married and moved to France. It was here that her life was changed forever. From her first meal in a Parisian restaurant, she knew that she would ‘never turn back’. Enrolling in Paris’ Le Cordon Bleu, Child’s passion became creating quality meals in the home and passing that knowledge onto others. With her distinctive voice and bubbly personality, she quickly became an unlikely television star at age 50 but, in doing so, also found herself battling the gender barriers of the time.

Practically perfect in its tone and execution, Julia is a heartwarming and sweet film with a little bit of extra space added in. Directed by Julie Cohen and Betsy West (RBG), Julia demonstrated the life and impact of a woman who may be misunderstood by many. At first glance, Child may appear to represent an era dominated by toxic masculinity as the stereotypical ‘woman cooking in the kitchen’. However, Julia’s exceptional storytelling paints a very different picture of her by shining a light on her rebellious and courageous spirit.

With enthusiasm and energy, the film celebrates Child’s desire to break down gender barriers by using her platform in the kitchen as a symbol of equality. For example, when she began her career, her presence was considered controversial due to the fact that most French kitchens were dominated by men. As she began her culinary education, her presence was not welcomed by the men in her peer group. Even so, she persisted, demanding that they view her as one of their own. In this way, Child became one of the first feminists to break through in an industry dominated by men. She was passionate about women’s rights reproductive and was fierce in the board room. Though she was brought up in a staunchly Conservative home, she challenged people to discuss issues difficult topics such as sexuality at a time when it was not considered ‘proper’ to do so. By way of her refusal to be treated differently, Child quickly became an advocate for women everywhere.

With charm and intellect, Child had the unique ability to make the complex seem simple and, in doing so, changed the way that people viewed meal preparation. During an era when TV dinners and convenience dominated the home, Child suggested that anyone could cook and wanted to empower them to do so. Like the French masters that taught her, she understood that the ability to prepare a meal was not only an art form. It was also a celebration of life. What’s more, she also believed that cooking was not merely a necessity but a pleasure and a delight. Inspired by the deep love that she had for her husband, Child believed that cooking was one of the best ways that a person could make a home healthy. (Incidentally, her philosophy of the ‘Three F’s’ is surprisingly hilarious.) For Julia, one cooked for others as an expression of love, not merely obligation.

There was a joy of creation within it that she wanted all to experience.

In the end, Julia is an absolutely delightful meal for the senses. With sizzle and fun, the film is an utter celebration of a woman who’s impact on the industry changed the way that the world understood the kitchen. Even so, her greatest contribution lay beyond the cutting boards and sauce pans. Instead, Julia reveals that Child’s strength and determination were her true superpower as she also fought to open doors for women everywhere.

Julia is now playing in select theatres.

Aline: Powerful Love in the Public Eye

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Beginning in rural Quebec, Aline is the “fictional” story of Aline Dieu (Valerie Lemercier), a young girl with a golden voice. As the youngest in a family of performers, Aline quickly begins to make a name for herself with a singing talent that far exceeds her years. After her family manages to garner the attention of a local agency, Dieu becomes the protégé of music producer Guy-Claude Kamar (Sylvain Marcel). Recognizing her undeniable charisma and talent, Kamar has big plans for his young star and the two begin to tour the world together. However, as Dieu becomes an adult, their professional relationship also begin to become something more. 

If the story sounds familiar at all, it should.

Written, directed and starring Valerie Lemercier, Aline is a strange but stunning unauthorized tribute to Canadian icon, Celine Dion. Opening with a reminder that this is a film which balances truth and fiction, Lemercier effectively crafts a film that feels like a fairy tale yet remains grounded in reality. What’s more, when in front of the camera, Lemercier also shines, showing off Celi… er… Aline‘s penchant for playfulness while still remaining able to command an auditorium full of devoted fans. Though the heart of the film emphasizes the tenderness of the relationship between the star and her future husband, Aline is at its best when standing back and allowing her to perform. With each performance, Lemercier wants the viewer to remain transfixed by the charisma of its lead. A great deal of study has clearly gone into Dion’s ability to command an audience and Lemercier does her best to recreate that magic onscreen. Thankfully, with each hand motion and arched back, she manages to channel the sheer force that makes Dion so memorable as a performer. (It should be noted that, while Lemercier is a singer herself, the songs were recorded by French singer Victoria Sio, who’s impersonation of Dion is utterly remarkable.) 

As a result, while the film may be unauthorized, there really is no reason why it should be. Unless the facts have been dramatically changed, this is an absolutely adoring portrait of the famous singer. (In fact, if there’s a criticism to be made of the film, it could be argued that it may remain almost too adoring of the Canadian icon.) Aline does not shy away from the fact that it’s based on Dion’s life, even going so far as to mistakenly refer the character as Celine in one particular moment. Charting the events of her life, Aline points to several well-known key moments in the power singer’s life, such as her initially controversial—but committed—relationship to produce Renee Angelil (here known as Guy-Claude), her success at the Oscars and her subsequent Las Vegas residency tour. In fact, while most of the songs are not Dion’s, there are a couple of notable exceptions to the rule, including My Heart Will Go On and several other staples from her career. From the first frames of the film, Lemercier ensures that Aline is a love-letter to the life of Canada’s performers yet still chooses to lean into the ‘unauthorized’ aspects of the biography.

Admittedly, one of the strangest aspects of the film is Lemercier’s choice to play Dieu as a young child. By placing Lemercier’s adult face on the body of a youth, the end result creates a look that is utterly bizarre to the eyes. (Seriously. You’ve never seen anything like it.) However, at the same time, I would also argue that the decision to do so works within the context to the film. Aline wants the viewer to understand immediately that there was a maturity within her, even in at a very young age. Yes, it does seem strange but it also speaks to the strength of her character by the film’s end. 

At it’s heart, Aline is a film which looks to address the challenges of living a life in the public eye. As Aline’s star rises higher and higher, so too must she fight to maintain a normal life. Anchored by a deep love of her husband and children, Aline believes that she is still that girl from rural Quebec. However, the tension between fame and family continues to pull her in two directions. Although she carries the burdens of her life on stage, all her audience sees are her growing parade of hits. To them, she represents a larger-than-life presence who possesses immeasurable talent. To them, she represents hope. (In fact, it is not a coincidence that her last name is Dieu, the French word for God. She is very much viewed as a Divine presence by her adoring fans.) 

However, Alene is so much more than that. Raised from humble beginnings, she carries that as part of her identity even as she achieved stardom. She rushes home from performances, hoping to see her son before bedtime. Though she has to take the stage, the news of her father’s death wears on her emotionally. Even so, her status as a world-renown celebrity somehow allows her adoring fans to feel like her public image is the totality of her identity.

Though she continuously offers a piece of herself, they wish to steal her soul.

Affectionate and powerful, there’s something remarkable about Aline. Backed by incredible performance by Lemercier, one can’t help but fall in love with the film and feel like there is something special about this film. While Dion may have not spoken publicly about the piece, it would be hard to imagine that she would feel anything but gratitude for Lemercier’s reverent take on the icon’s life.

To hear our conversation with Valerie Lemercier, click here (YouTube) or here (audio).

Aline is now playing in select theatres.

Resident Evil: Welcome to Raccoon City – Going Back to the Beginning

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Set in 1998, Resident Evil: Welcome to Raccoon City invites the viewer to Raccoon City, a once-booming town that housed pharmaceutical mega-corporation known as the Umbrella Corporation. However, after the company abandoned the area, Raccoon City has become a dying Midwestern wasteland. Despised by locals and ignored by the rest of the world, the city has been left in shambles on the surface with a growing toxicity bubbling underneath. When that evil is uncovered by former resident Claire Redfield (Kaya Scodelario), she returns to attempt to rescue her brother Chris (Robbie Amell) before it’s too late. However, as the night runs on, the damage left by the Umbrella Corporation begins to surface, wreaking havoc on those who live in the area.

Beginning with the video game and evolving into a successful cinematic series starring Milla Jovovich, Resident Evil has remained in the pop culture canon now for over 25 years. Whereas Jovovich’s series had a certain campiness to the material, Resident Evil: Welcome to Raccoon City returns the sci-fi franchise to its more horror-driven roots. Written and directed by Johannes Roberts, Raccoon City emphasizes the seediness of its location. Drenched by the rain and blanketed by bleeding colours, Roberts wants the viewer to feel the horrifying atmosphere. (It’s also worth noting that, in doing so, Raccoon City definitely leans more like its video game origins, which emphasized the terrifying elements of the world.) By amping up the blood and gore, clearly his intent is to entertain through terror and, honestly, it almost works. However, despite his unflinching support of the franchise’s scarier roots, Roberts’ script simply relies too heavily on tropes that we’ve seen before, preventing it from becoming something truly special and unique.

Having said this, the film’s cast is clearly having an absolute blast which helps to offset any particular banality to the script. Anchored by sci-fi stalwarts Robbie Amell, Tom Hopper, Kaya Scodelario, Neal McDonough and Hannah John-Kamen, the cast are more than game for their character arcs and monster madness. However, the true gem within this film lies with Donald Logue who fully leans into his performance. While subtly is hardly a word that could be used to describe his work here, Logue always has a way of bringing depth to his characters when the material is found lacking. As a result, even in moments where the script requires scenery chewing, Logue remains infinitely engaging as the disgruntled Chief of the RPD.

Underneath Raccoon City’s gory exterior though lies a conversation about dealing with the traumas of our past and how that bleeds into the present. Whether it’s attempting to deal with ‘father figures’ who have broken their souls or divided loyalties, everyone here is trying to work out their own drama. For example, having managed to escape from Dr. Birkin’s experiments as a child, Claire managed to break free from her life Raccoon City. Even so, despite the fact that she managed to remove herself from the city, she still bears the weight of her experiences. When conversations with a mysterious source confirm her fears about Umbrella’s corporate demons, she feels she must return to help her brother from avoiding the fate of others. However, at the same time, her return also forces her to work through the damage inflicted upon her by Birkin’s cruelty and, hopefully, emerge from her trauma with a newfound strength and hope.

Enthusiastically leaning into the gore, Resident Evil: Welcome to Raccoon City is definitely a new beginning for the once great franchise. While the script may seem lacking at times, Raccoon City still offers enough zombie-fueled fun to make it a visual treat for horror fans. Backed by some solid performances from its cast, Raccoon City proves to be a place that you may want to visit… but you may not want to return to.

Resident Evil: Welcome to Raccoon City is now playing on theatres.

C’mon C’mon: Changed by Love

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A24 Productions has hit it out of the ballpark again. Founded in 2012, it has already brought us so many treasures to be grateful for. C’mon C’mon is no exception. Shot in beautiful black and white, it has the feel of a documentary – of lives of people that you didn’t know you needed to know about.

But you’ll be glad you stayed to meet them.

It might be easy to think “Here we go again. Another bonding movie about an adult male and a cute kid’ (Admittedly, Woody Norman really is a cute kid). But Mike Mills’ superb screenplay and skillful direction take this film to a deeper place. 

Johnny (Joaquin Phoenix) has a great job. As a radio jockey, he is making his way around the country with his colleagues, interviewing young people about their take on the world.  The movie starts with the sound of their voices. What are their aspirations and dreams?  How do they see the future unfolding? (My understanding is that these are real kids sharing, not actors.) Their answers are tender and courageous and wholly heartening. Johnny is empathetic and interested in all they have to share. 

But life can change with just one phone call and that is what happens. Viv (a wonderful Gaby Hoffmann), Johnny’s sister, asks him if he will come to California to stay with her son. Her ex is dealing with some mental health issues and she feels compelled to travel to help him. The brother and sister have been estranged since their mother died the previous year. Although nervous, this seems to Johnny like an ideal way to rebuild some bridges with the sister that he loves, and also to get to know his little nephew. If he can listen to other young people, certainly he should be able to handle his sister’s child. 

Here is where Mike Mills’ understated direction and beautiful script shine.  He could have gone for easy laughs or sentimental dialogue. There is none of that. The nephew is “smart and weird – a whole little person” as Viv describes her son, and he is going to make his uncle work hard to figure him out. Jesse is mesmerized by his uncle’s recording equipment and loves wearing the giant headphones and pointing the equally giant microphone at anything that makes a sound. Johnny is amused by this and probably realizes that eventually Jesse will become the interrogator of his life. “Did you tell my mom to leave my dad?” “Why aren’t you married?”. Johnny is forced to question himself about why he is so reluctant to give full–or even truthful answers–to his nephew’s many questions. And, of course, Jesse’s BS detector is always on high and any answers that don’t measure up are countered with “blah, blah, blah”.  Anyone with kids, or who spends time around youngsters knows what the “novice” parent is going to encounter: 

“Let’s use the bed as a trampoline.”

“Why aren’t you reading the story like mom does?”

“I’m going to repeat every (single) thing you say to me.”

“Can I sleep with you?”

“I didn’t hide – you lost me!”

“I’m an orphan and you have a dead child, so you can now adopt me (a nightly ritual)”

For Johnny this is all exhausting and illuminating. Jesse is wise and scared (he knows his mom and dad won’t be getting back together) and he needs some clarity or help from Johnny in figuring things out. When Viv’s time with her ex needs to be prolonged, Johnny must now take a bigger step of commitment by taking Jesse on the road with him. Homesickness and fear are now added to the mixture. But the bond between the two has now been forged and they sink or swim together. Jesse did not want to start on this trip, but found in the end that it turned out to be amazing. None of this time is easy, of course, but both uncle and nephew are changed in the process. 

Anyone who is used to seeing Joaquin Phoenix in tough guy roles (cackling as The Joker, snarling like Johnny Cash) will be again impressed with this actor’s range. Here, as a middle-aged guy thrust into a new role as uncle/parent, he shines. And he is met head on by his young companion Woody Norman. Their chemistry is beautiful to behold.  If you’re not one to see movies about family stories, or don’t like black and white movies, make an exception here.

Or, as Jesse would say, “C’mon, C’mon”. 

C’mon, C’mon is available in select theatres on Friday, November 26th, 2021 and expands on December 3rd, 2021.

Writing with Fire – Voice for the Voiceless

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Journalism has the power to give voice to those who are unseen in society. In Writing with Fire, from directors Rintu Thomas and Sushmit Ghosh, we see how a group of women in India have found their own voice through their journalistic work. The film won an Audience Award and a Special Jury Award at Sundance.

In 2007 a group of women from the Dalit (“untouchable”) caste in Uttar Pradesh started Khabar Lahaiya (KL), an all women newspaper. Writing with Fire shows us their work as they transition from print to digital. Many of these women are uneducated and the idea of using a smart phone for reporting is a challenge. But they understand their work is important. Often their reporting is the only way stories of abuse of Dalit women may come to light.

The women themselves face prejudice and sexism, even in their own families. This is a society that has many constraints on the roles women can fill. Most of the press in India is made up of upper caste men. Their very presence at press events is a statement of the power they seek to tap into.

Much of the film shows us the stories they cover, whether a rape case that the police don’t care about investigating because the victim is a Dalit woman (and thus, for the police, below caring about), the dangers of cave-ins in illegally operating mines (and the child labor used in them), or covering a state election.

From my perspective, one of the interesting side issues is that a key political power in Uttar Pradesh is the BJP, a fundamentalist Hindu political party. As the KL covers the election, what I noticed is the way religious fundamentalism has worked its way into that political system, and the way it seems to normalize violence in the name of religion. When I look at our own political system, we often see such views becoming more involved here. Religious fundamentalism, whether Hindu or Christian, often leaves no room for people of different beliefs. The dangers of such understandings are evident as we watch it from afar. It is important that we also be wary of its growth around us.

Writing with Fire is available in select theaters

Photos courtesy of Music Box Films.

Encanto: Cracks in the Foundation

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By Seun Olowo-Ake

Encanto is the story of the magical Madrigal family, their sentient casita and the people in their community that they have taken it upon themselves to protect. Written by Jared Bush and Charise Castro Smith and featuring music by Lin-Manuel Miranda the Great (Incidentally, that’s how I shall be referring to him henceforth), Walt Disney Animation’s 60th film brings us magic, familial love, bright colours and Miranda’s conversational music style.

As the only person in the family Madrigal that was not blessed with a magical gift, Maribel (Stephanie Beatriz) compensates by helping her family out in any way she can. However, she soon discovers that, rather than aiding it, her efforts put her in the way of the family’s efficiency. This doesn’t deter her though, as when she discovers her family’s magic is in trouble, she decides that she will be the one to save it. Cue awkward dinners, ‘bigger on the inside’ adventures and making amends.

I really love my family and the idea of family in general so, even though it shocked me, I was not surprised to find myself teary eyed by the end of the movie. Seeing the Madrigals siblings, cousins, parents, tias and tios–all led by the graceful Abuela (Maria Cecilia Botero)–helping each other out made my heart very happy.

Encanto conveys different themes: from the importance of family (where the true magic lies) to the weight that comes with having to be perfect/having nothing go wrong with you to finding and understanding your gift when everyone around you seems more exceptional than you are, as seen in Maribel who is determined to prove her worth to the rest of her family.

However, by the end of the movie, I found myself asking an important question: what is good leadership?

Abuela and the Madrigals are the centrepiece of the community, and it is their magic that keeps it running. But when that magic starts to fade, the problem is not just that their family is losing their magic. It is that they are leaving their community vulnerable. Abuela understands this and tries to sell the illusion that the magic is okay for as long as possible. To me, she exemplifies the type of leader that feels they must always project strength, even when that strength is lacking. This need to show strength has been passed on to the rest of her family who eventually crack under the weight of that pressure, forcing them all to reckon with the fact that though they are the “strongest”/“most gifted”, they need their community. The film tells us by the end that good leader doesn’t just do everything in their power to take care of those in they lead. They also empower those under their influence to become leaders themselves.

A good leader understands they can’t do everything alone, and a good leader is not afraid to ask for help when they need it.

Now, I’m going to listen to the soundtrack on repeat because, believe it or not, this fast-talking rap music lover could not fully understand what was going on in some of the songs. Personally, I blame that on the fact that I watch everything with subtitles. (Or maybe I’m getting up there in age. Lol)

Encanto is premieres in theatres on November 24th, 2021.

Reel Asian ’21: A Trip to Heaven

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Set on the road to Mekong Delta, A Trip to Heaven follows 50-year-old Madame Tam as she boards a mysterious tour bus. After she settles in, she is shocked to see her former high school sweetheart sitting in the back row. Enamoured and excited, Madame Tam battles her nerves and must decide whether or not she’s going to attempt to reconcile with her long-lost love.

Directed by Ling Duong, A Trip to Heaven is a beautifully poetic piece about death that also maintains its sense of humour. Through slow, steady camera work, Duong’s short creates an atmosphere of inevitability. While we don’t fully understand where this bus tour leads, Duong never lets us forget that it leads somewhere. Although kept moving with humour, the film maintains a slow burn as it builds towards the final scene at the ‘Stairway to Heaven’.

What’s more, Heaven also emphasizes the emotional burden that we can put upon ourselves for missed opportunities. For example, as Madame Tam yearns to reconcile with her lost love, she expresses her desire to relive a piece of her past that she regrets. Approaching the end of her life, she still holds out hope that—maybe—there might still be an opportunity for long lost love. To her, this is a moment has left a hole in her soul. As a result, the chance to change her past is embedded with possibility and hope. 

However, at the same time, Heaven serves as a reminder that you cannot always fix what has been done either. Sometimes, moments from our past cannot be repaired, no matter how much we yearn for them to be changed. In this way, this Trip to Heaven wants us to believe in hope for change… but also points out that it may not always be possible.

A Trip to Heaven premiered at Reel Asian Film Fest ‘21.

Reel Asian ’21: Taipei Suicide Story

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Set in a society vastly different from our experience, Taipei Suicide Story takes place in a hotel that willingly assists its guests with ending their lives. By providing a number of methods by which they may commit suicide, this place runs efficiently and effectively. However, when a hotel guest who is unsure about her life and death decision is discovered to have ‘overstayed her welcome’, a receptionist begins to break the rules of engagement and the two strike up an unusual friendship.

Directed by KEFF, Taipei Suicide Story is a surprisingly sweet and strangely funny look at the tension between life and death. Keeping his camera movements simple and his dialogue quiet, KEFF offers a sense of reverence for the lives lost, even if their passing takes place in a facility where it’s expected. In many ways, this hotel is a morgue, inviting guests to join in the gentle release of death. However, by using a warm colour palette, KEFF keeps this place feeling both welcoming and safe within its walls. Though the end result may be sad, this hotel feels just the opposite.

Anchored by heart-warming (and heart-rendering) performances by Vivian Sung and Tender Huang, Suicide Story speaks to the human need for intimacy and connection in a space where hope feels lost. After remaining in the hotel for an unexpected length of time, Sung’s character is looking for something. Whether it’s a reason to live or die is unclear, yet what is apparent is that she is sensing a deep loneliness. Her openness and emptiness connects deeply with Huang’s receptionist. To him, this place has always been about respecting the rules while others suffer. However, in this guest, something sparks. As the two grow closer, so too does KEFF use this story to speak to our human need for intimacy and the emotional void that is left without it.  

Taipei Suicide Story premiered at Reel Asian Film Fest ‘21.