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The film is a rare one in Hong Kong that portrays father-daughter relations. Director Pang Ho-cheung (also for screenplay) uses a complex, non-linear and restricted narrative (watch it, no spoiler here) for the story of a mystery of incest and manipulates parallel editing to create twists by making use of match of action of no spatial relation, thereby adding very strong hermeneutic momentum to the readability of the film. Pang adopts a bilateral perspective of framing: (1) portraying police constable Ma Chen-shing (Chapman To) from the perspective of her daughter, Yan (Isabella Leong), and (2) framing the reversed perspective from Ma.

Isabella is not only the real name of the character in the leading role (Isabella Leong) but also the names of another character, Yan's mom, and the dog in the story. The use of the name is a clue on how Pang manipulates his artifice.

Yan's genuine wish is the reunion with her dad. Yet the wish is materialized in her search for her lost puppy, Isabella, which is also the name of her demised mom. Pang's use of the name signifies Yan's hope for a family reunion and this is later depicted in the narrative by her denial in finding the puppy because of her fear of parting from her father, Ma, connoting Yan's priority in reunion with Ma. Ma assumes a patriarchal role in teaching Yan in taking care of herself whereas Yan efforts in clearing all barriers (Ma's girlfriends) to her reunion with Ma. The two's moving their baggages in shambles (in a back shot) is a demarcation between the two's alienation and compatibility in the first thirds of the film. Pang's narrative on the evolution of Yan's character is smooth.

Pang uses a deluge of stylistic cinematographic and acoustic features: use of lighting for guiding audience's attention, mirror reflex, asymmetrical framing, diegetic song, inter-titles, abrupt pause of music in scene transition and complete silence, all being a shadow of Wong Kar-wai.

Though the story portrays the melancholy of both characters from the beginning to the middle, it is distinct to Wong Kar-wai's movies in that the characters are zealous and prepared for an upright life at the denouement. Peter Kam's award winning music (original scores) in violin and cello and the adopted Portuguese song (female vocalist) are moody. The film also features fine astringent staging from Chapman To. Leong's staging is fine as well. The film is good choice for the Easter.

註：本評論純屬影評作者個人意見，並不代表本網立場。
Note: This views presented in this review is solely the views of the critic who wrote it and do not represent the stance of our website.

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