Especially if you were born and raised in the US, there is a fascinating moral dilemma in the heart of Lulu Wang's The Farewel l which will receive energetic, very emotional and probably unresolved training: Should you tell a loved one that she is dying? The immediate answer seems to be "natural", but Wang's film, which is set in mainland China and based on her own family experiences, slowly and cautiously records some perspectives that are less obvious (both culturally and narratively), but are becoming more and more convincing than his story unfolds. Last but not least, an important reminder of how important it is to keep in touch with aging relatives – especially grandmothers ̵
Crazy Rich Asians Breakout Awkwafina plays Billi, a New York-based writer not far from her parents Haiyan (Tzi Ma) and Jian (Diana Lin), who immigrated with her to the United States, when she was a kid. Billi still maintains a close relationship, albeit by phone, with her seedy grandmother Nai Nai (Zhao Shuzhen), which is why she is deeply annoyed that she was diagnosed with stage 4 cancer. But after her parents have stated that the family has decided not to tell her grandmother about her condition, she intends to leave China under the guise of a marriage between a distant cousin, Hao Hao (Chen Han), and his Japanese friend Aiko (Aoi Mizuhara) to spend the last few moments with Nai Nai, Billi books her own ticket and crashes the spontaneous family reunion.
Knowing their preference for emotional outbursts, Billi's parents fear that they will inadvertently spoil their cunning. But Billi agrees to follow the lie to spend time with Nai Nai, although privately she tries to convince the rest of them that telling the truth is the right thing to do.
] Not only as a writer and director, but also as a Chinese-American immigrant between two cultures, Wang's close relationship to the material is immediately apparent. She has a unique and balanced perspective, both in terms of Billi's insistence that Nai Nai deserves to know her diagnosis and the family's belief that if she tells her, it will accelerate her physical deterioration , Viewed from the outside, this belief not only feels like superstition, but reinforces a potentially unhealthy cultural stereotype about how Asian families behave emotionally, and prefers expressions of affection that are cautious or utterly unspoken. But Wang's generosity as a storyteller attracts audiences who might be reluctant to keep Nai Nai's diagnosis secret by providing a comprehensive and insightful insight into the family, both culturally and individually, as she moves with her throughout the film The philosophical complexity dwells on their own longstanding traditions and the possibilities of a developing society that may be ignorant or opposite.
For example, both Billi's father Haiyan and his brother Haibin (Jiang Yongbo) moved away from Nai Nai decades earlier. to seek a better life for themselves and their children. They both seek to comply with this request, to lie to their mother – drink excessively and explain moments of emotional vulnerability as happiness or fatigue – but accept the commitment as a means to extend their lives, even if they try to cope with the cultural differences They accept the goals and ambitions of their own children – especially in Billi's case, a writer who lives above a laundromat but has to go home to wash clothes. They then drag the rest of the family into this lie, which leads to some close conversations when Nai Nai develops a persistent cough and later becomes skeptical as to whether the doctor insists that the lesions in her lungs are just "benign shadows."
Billi, who grew up mostly in the US, has a different view and this is shared by many when the movie begins. But the thread of compassion drawn by Billi's own desire to spend time with Nai Nai and respect her family's wishes begins to provide a more convincing argument for saying nothing, especially as Nai Nai, tirelessly, even if she does From their minor symptoms, trucks with the verve and excitement of a person in their half-age report from the plans for the fictitious wedding. Whether you are "superstitious" or not, as far as the psychological implications of the diagnosis of an incurable disease are concerned, the film at least lets you understand how Nai Nai, if you learn the truth, can slow you down, or perhaps Context of grandmother's own fictions committed against her deceased husband. And in the meantime, the rest of the characters are so concerned with the emotional impact of this message that it's so spared that the emotional weight increasingly feels like a friendliness.
In her previous film roles, Awkwafina has often played a bit wild card, that's what makes her centered performance – even in the uncertainties of her character – such a delightful surprise. She is incredibly talented and believably believable as Billi, trying to convince her family to be honest, but never does that for selfish or self-righteous reasons. Explaining her feelings about a past loss – and the challenge of accepting her parents' goals without ever knowing what made those decisions – is a devastating, but perfectly understandable impulse for her to experience clarity and catharsis it could not have before. Meanwhile, Zhao Shuzhen plays the irresistible, indomitable Nai Nai whose light and energy have kept the family together – and continues to do so when they fall apart around them for reasons they can not share. The film marks her debut as an actress, and it's the kind of role that not only welcomes the audience as a performer, but the movie that revolves around her character.
There are certainly a number of scenes that will bring tears to spectators – especially if they have ever experienced such losses or have had to say goodbye to a loved one without knowing if they would ever see them again. But the seriousness of the film, which implies that there is something good about communicating love through unspoken gestures, manages to infect the audience in ways I did not expect, and to foster a kind of restraint that reflects that What the characters go through. But as a portrait of family solidarity and in homage to parents and relatives who hold families together, even when they span the country and the globe, [19659-02] Farewell [1965-9012] is a remarkable, powerful feat. This kind of movie makes you call your grandmother after that and just thank her for being her, but he also lets you know that you already do that when you think she's gone.