The sense of characterization emerges equally from the supposed downtime, the moments between the conversations.
Perhaps the most radiant film I have ever seen . . . Its ebullience rests largely in its synthesis and transformation of those most obvious of French cinematic stereotypes: an obsession with love and sensuality, extended conversations about overtly philosophical subjects.
This week’s critics come together to officially put a nineties lesbian coming-of-age comedy and a sixties Hong Kong musical romance in the queer canon.
The specificity of China is largely displaced and obscured, and The Farewell never communicates the full force of its semi-connected scenes of sadness and lost identity.