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The title of this film in no way prepared me for what I was about to see! A charming old grandmother "Madame Hai" (Thanh Hiền) is content tending her flowers at her rural home when she has a bit of a mishap that puts her leg in plaster. Even though she is surrounded by helpful neighbours, it's clear the she cannot look after herself, so children have to take it in turns whilst she recovers. Her daughter, with whom she lives, must contend with a very ill girl of her own, so it falls to the other four siblings to argue about who will make some sacrifices and compromise their own busy schedules to accommodate the old lady. First it's the wealthy brother whose job is on the line and whose daughter is a bit prone to fighting at school; the second is an hen-pecked fisherman with a kindly young daughter and a sagely old in-law. Then it's the turn of the daughter (my favourite scenario) who works with her husband on a flower farm and who tries to convince her mother that they live in a big house with a pool - but do they really? Finally, a young son with an expectant wife take their turn. The old lady is embarrassed to be a burden, but each story serves as a sort of mini-parable with a message about familial values, priorities and the wisdom of age. The episodes are quite good fun, but once they are over the story rather loses it's way as the grannie sells up and absconds leaving her children to worry and panic. That's hardly plausible, nor, really, is much of the last half hour or so as the story loses much of its impetus, humour and focus. It's got a sort of nondescript television style score too that doesn't really help it along either and that's a shame as the family dramas are quite funny and engaging. It is way too long but Thanh Hiền's gentle personification of an old lady whose not without her wits makes for a decent template for the first half of the drama. I don't watch much Vietnamese cinema, but maybe presenting stories depicting their own rich culture might work better if they leave out the attempts to appeal so overtly to a Western audience?
An eight-year-old girl tries to build a relationship with her absent father through a class-assigned family tree.
A troubled young man struggles with a skin affliction and recurring nightmares of a monstrous figure. As his condition worsens, he grapples with his past, fearing he's becoming the very monster he dreads.
A 10 year old girl escapes the grim reality of her situation by creating a world where all of her hopes and dreams come true.
The personal stories lived by the Uncle, the Father and the Son, respectively, form a tragic experience that is drawn along a line in time. This line is comparable to a crease in the pages of the family album, but also to a crack in the walls of the paternal house. It resembles the open wound created when drilling into a mountain, but also a scar in the collective imaginary of a society, where the idea of salvation finds its tragic destiny in the political struggle. What is at the end of that line? Will old war songs be enough to circumvent that destiny?
In this tragicomedy, three adult sisters and their brother come to the farm of their estranged, deceased mother to divide the inheritance. To their surprise, that includes a flock of sheep. The sisters and brother have drifted apart but it turns out that too is part of their mother's legacy.
In the middle of the period of high economic growth in Japan, a family is thrown into disarray over work, money, and romance. Their father's sudden unemployment later in life causes friction among the siblings of the Akagi family. Kensuke, a salaryman at a top company, refuses to support his parents while his brother, Shoji, determines to care for them despite only working as a taxi driver. The concern over money affects Noriko's own love life as she courts a wealthy salaryman to the chagrin of her mechanic boyfriend.
During a romantic wedding anniversary dinner, Laila is callously served with divorce papers. Her husband, Raoul, takes this opportunity to let her know that he has a new girlfriend, Nadene, whom he plans to marry. To help cope with her grief, Laila enters therapy, but as the sessions get more intense, she gradually remembers the long-buried secrets that have haunted her for decades. Meanwhile, young women are disappearing, and a police investigation is in full swing. The police don’t have any suspects, that is until a missing person’s report is filed, and a body is pulled from the dumpster. After a visit from the lead detective, Laila is overcome with empathy for Nadene, and she vows to help her in any way. The women then team up and help each other so that the first wife can overcome the horrors of her past, and for the second wife, to avoid the utter destruction of her future.
Special Agent Kanen must follow the target of his latest case - but what happens when the target has connections to his mysterious past?
Mariana revisits a trunk of letters that Ricardo, her father, sent to Alfa, her mother, in the 90s when he lived in Canada. Now that her father has left the country again, Mariana seeks answers about the evolution of her parents' love through an emotional encounter.