At the End of Daybreak Hong Kong Movie Synopsis :
A young man, who lives with his mother, meets a teenage girl through an online chat and start to date. On learning about the youngsters' relationship, the girl's wealthy and none-too-pleased parents tell them to quit.
At the End of Daybreak Hong Kong Film Review :
This is the eleventh film I saw at the 14th International Film Festival Pusan.
From Malaysia indie director Ho Yuhang, this film has less languid pace and editing (which is at the same level as the slowest of Hong Kong films), but the characters still talk lurrrve. HK is also in the sense that the characters, or at least some of them seem to be always angry with them and complain and complain about each other. It also has two players in Hong Kong in its main cast (including veteran TVB actress Wai Ying Hung), which explains why the quality of performance in this film is noticeably better than other local films we've found.
Unlike most Malaysian independent films, this one has a clear history, although it takes time to unfold. It's basically a story about a Chinese girl, middle-class couples with a child of Chinese working class, and the film spends a good amount of time creating their separate lives, his new group of friends and family. What amuses me a bit, to see the fight schoolgirl Miri (almost) play in a scene in which a group of girls in front of the main character schoolgirl.
The options for framing shots and makes sense, for once, and we see a lot of time is meaningless for outside the main action, or strange, ambiguous insert shots trying to say something that does not matter. This time it feels more attention was paid to tell stories. The photograph in general (including lighting), it is safer, and this time it seems that a Malaysian film director has discovered the value of the catch of Dolly. (What part of the crew is HK?)
Note, however, what I'm saying is relative.
The performance of the actors, even in Malaysia is, thankfully, not over. The script, however, seems to like giving them lots of bad jokes to tell. Most of the scenes make sense, except for a sudden and out of place the scene of domestic violence at the end of the film. Misplaced, because out of nowhere, do not seem to follow any emotional build-up or any other consequence of the action of someone, and do not seem to affect any of the following scenes. (Otherwise, would have been quite effective and convincing dramatic moment.) There is a car accident scene that I found very well done, as in not coming across as false. And there's a surprising cameo involving (among others) Pn Yasmin, which is a kind of cute ... put a smile on my face, it did.
I wrote in my notes that "the problem with art films do not want to engage with the audience." This is not really an art film and therefore fares better than most, and is probably the most accessible film ever ....
A young man, who lives with his mother, meets a teenage girl through an online chat and start to date. On learning about the youngsters' relationship, the girl's wealthy and none-too-pleased parents tell them to quit.
Cast & CrewDirector : Yuhang Ho
Starring : Tien You Chui ,Jane Ng Meng Hui,Kara Hui
Origin : Hong Kong
At the End of Daybreak Hong Kong Film Review :
This is the eleventh film I saw at the 14th International Film Festival Pusan.
From Malaysia indie director Ho Yuhang, this film has less languid pace and editing (which is at the same level as the slowest of Hong Kong films), but the characters still talk lurrrve. HK is also in the sense that the characters, or at least some of them seem to be always angry with them and complain and complain about each other. It also has two players in Hong Kong in its main cast (including veteran TVB actress Wai Ying Hung), which explains why the quality of performance in this film is noticeably better than other local films we've found.
Unlike most Malaysian independent films, this one has a clear history, although it takes time to unfold. It's basically a story about a Chinese girl, middle-class couples with a child of Chinese working class, and the film spends a good amount of time creating their separate lives, his new group of friends and family. What amuses me a bit, to see the fight schoolgirl Miri (almost) play in a scene in which a group of girls in front of the main character schoolgirl.
The options for framing shots and makes sense, for once, and we see a lot of time is meaningless for outside the main action, or strange, ambiguous insert shots trying to say something that does not matter. This time it feels more attention was paid to tell stories. The photograph in general (including lighting), it is safer, and this time it seems that a Malaysian film director has discovered the value of the catch of Dolly. (What part of the crew is HK?)Note, however, what I'm saying is relative.
The performance of the actors, even in Malaysia is, thankfully, not over. The script, however, seems to like giving them lots of bad jokes to tell. Most of the scenes make sense, except for a sudden and out of place the scene of domestic violence at the end of the film. Misplaced, because out of nowhere, do not seem to follow any emotional build-up or any other consequence of the action of someone, and do not seem to affect any of the following scenes. (Otherwise, would have been quite effective and convincing dramatic moment.) There is a car accident scene that I found very well done, as in not coming across as false. And there's a surprising cameo involving (among others) Pn Yasmin, which is a kind of cute ... put a smile on my face, it did.
I wrote in my notes that "the problem with art films do not want to engage with the audience." This is not really an art film and therefore fares better than most, and is probably the most accessible film ever ....
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