Filmed in grainy 16mm, Lim Lung Yin’s OHONG VILLAGE is a modern-day retelling of a disconnected and discontented filial relationship in a small ebbing fishing village. The decision to use film gives this drama a vintage quality to it that is Euro-style reflective and melancholic.
Sheng-Jii (Lin Yu-Hsu) and his father Ming (King Jieh-Wen) are two men at odds with each other. Sheng-Ji has just come back to Ohong from an unsuccessful attempt to make it in Taipei. He resorts to covering up this truth and instead lies about his success in the city. The only one who can see through him is his father Ming. In one confrontational dinner table scene, Ming bursts out in anger to stop the lying.
The film then explores not only Sheng-Ji and Ming’s relationship but also the travails and cultural challenges of village life. It also touches on the precarious nature of their village livelihood of oyster farming. At the heart of the story as well as the impending mortality dilemma of Ming.
OHONG VILLAGE is a film about village life and culture in Taiwan that is slowly disintegrating due to the irresistible lure and dominance of cities like Taipei. It is a film about family relationships as well, and that ingrained Chinese culture of hard work and success to elevate oneself in life.
OHONG VILLAGE (4/5)
Here are my reviews of blockbusters that graced Sydney cinemas during this autumn-winter period — all escapist, mega-budgeted, CGI-heavy, star-studded behemoths with an endless credit roll. These are films you watch on the big screen complete with surround sound plus popcorn and soda… treat yourself to these guilty pleasures!
The Korean Film Festival is back in 2023 from 24-29 August at Event Cinema George Street, Sydney. Its opening night film is that grand historical murder mystery thriller, THE NIGHT OWL, amidst familial jealousy and political intrigue of Korea’s bygone kingdom.
