There is nothing metaphorical about the connection between a fractured China and one fractured family unit in A Family Tour. Attuned to the rhythms of often stilted conversations played out against the banal, sunny backdrop of public spaces in contemporary Taiwan, A Family Tour does not have much truck with symbols.
There is some satisfaction that comes in seeing motifs and symbols established within the first part of the film as they re-emerge in the galvanizing high-wire act performance of the second, though I am unconvinced that the seeding of these symmetries can entirely justify the moribund experience of what has preceded.
The Favourite works in an idiosyncratic register that distills his austere and sometimes brutal gaze to darkly comic effect. Here, he reimagines the period piece as an acerbic battleground of wits, where no behavior, interaction, or pastime is too eccentric or primal.
Just as Kate had no access to footage of Christine Chubbuck while preparing to play her, the residents of Bisbee must invent backstories, postulate connections between their roles and themselves, and develop entirely new countenances with no objective reference points.