Generally I'm not a big fan of melodrama, and LAN YU is a classic, Sirk-league piece of melodrama, so I can't say I loved this film. But it is impressive in a number of ways - the depiction of intimacy, and of a slowly-developing relationship is very well done, and this film is very obviously the work of a thoughtful and talented filmmaker. I also liked the cinematography - very un-flashy, which serves the material well: a dry, slice-of-life look which stands apart from the dramatics of the plot, and definitely underscores the normality (or validity) of gay relationships, perhaps in a culture that is still coming to terms with such relationships. The dinner scenes - which are beautifully shot and staged - stand out.
It should be noted that director Stanley Kwan has a handful of other artistically notable films to his credit, with ROUGE and ACTRESS generating acclaim around the globe. Kwan claims Hollywood melodramatist Douglas Sirk and Japanese contemporary dramatist Yasujiro Ozu as major influences, and both of those influences are apparent here - the studied, careful mis-en-scene of Ozu; and a story balanced between social critique and three-hanky melodrama, in the fashion of Sirk. Kwan is also one of a small (but growing) number of out Asian filmmakers, and noting this (and his artistic influences) helps to understand the overall importance of this film.
If some of the most creative and engaging gay film being made today is coming from Asia, Europe and Latin America - which I believe to be true - then this film is definitely among the best of that wave. Worth a look.
It should be noted that director Stanley Kwan has a handful of other artistically notable films to his credit, with ROUGE and ACTRESS generating acclaim around the globe. Kwan claims Hollywood melodramatist Douglas Sirk and Japanese contemporary dramatist Yasujiro Ozu as major influences, and both of those influences are apparent here - the studied, careful mis-en-scene of Ozu; and a story balanced between social critique and three-hanky melodrama, in the fashion of Sirk. Kwan is also one of a small (but growing) number of out Asian filmmakers, and noting this (and his artistic influences) helps to understand the overall importance of this film.
If some of the most creative and engaging gay film being made today is coming from Asia, Europe and Latin America - which I believe to be true - then this film is definitely among the best of that wave. Worth a look.