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Cannes Critics’ Week Winner Proves Worthy



The intimate and naturalistic Mandarin-language drama “Blue Sun Palace” has nabbed the French Contact prize from the Cannes Critics’ Week jury, placing Chinese language-American writer-director Constance Tsang on the map as a expertise to look at after her function debut. Sure to see future competition motion, the drama about three working-class Chinese language immigrants in Flushing, NY, the movie succeeds with touching performances from Ke-Xi Wu (“Nina Wu”), Lee Kang Sheng (Tsai Ming Liang’s iconic actor) and Haixpeng Xu (“Where Echoes Never End”) that might tempt distributors within the coming months.

Though the borough of Queens is pone of probably the most numerous locations on the planet, the insular world of “Blue Sun Palace” is nearly solely Chinese language, unfolding in New York’s largest Chinatown. Taiwanese Amy (Ke-Xi Wu) and mainlander Didi (Haixpeng Xu) work together with two different ladies in a therapeutic massage parlor with an solely male clientele. The signal on the door stipulates “No Sexual Services,” however the masseuses obtain larger suggestions if they supply what the commerce dubs a “happy ending.” Whereas the job isn’t precisely nice, the ladies evince a constructive camaraderie, obligatory for group who share a small dwelling and dealing house. Furthermore, Didi and Amy, who’re significantly shut, are saving to open a restaurant in Baltimore the place Didi’s younger daughter lives along with her aunt. 

In the meantime, outdoors of workplace hours, fairly, cheerful Didi is seeing Cheung (Tsai Ming-liang common Lee Kang Sheng), a lonely, middle-aged Taiwanese man who ekes out a dwelling within the building commerce and sends cash residence to his sick mom, spouse and daughter. The movie’s intimately shot opening moments present them having fun with one another’s firm at a restaurant and singing karaoke at a membership.

Tsang’s minimalist screenplay unfolds in two time intervals, divided by a traumatic occasion on the Lunar New Yr (and the movie’s opening credit some 33 minutes in). After the narrative rupture, the connection between the characters realigns and a theme of discovering consolation amid grief involves the fore.

Extra akin to European artwork movies than to American indies, “Palace” prioritizes temper over plot. Tsang permits her skilled actors loads of respiration house to convey the melancholy of their existence in conditions the place desires usually tend to be deferred than to return true, however are obligatory however. It appears odd, although, that she gives the character of Cheung a backstory that explains why he’s a migrant and stays in his dead-end job, however neither Amy or Didi obtain one.

As befits a movie that cites a therapeutic massage guide within the closing credit, the scene that the majority lingers after the movie ends is a prolonged one exhibiting the therapy Amy performs on a Caucasian shopper. Claustrophobically shot by skilled Canadian DP Norm Li, it epitomizes the drawbacks of her career. Certainly, Li’s tender but tightly framed cinematography, shot on Kodak movie, underlines the confined conditions through which the characters exist and captures their cluttered environment with a documentarian’s eye. Composer Sami Jano gives an efficient however sparsely used rating.

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