Big screen debut of Singaporean Chan, “Shadows” theatrical release was delayed for more than a year, something that did not prevent the movie, however, from being hailed as one of the best of the year.
“Shadows” is screening at Chinese Visual Festival
Dr Tsui, a psychiatrist working in Hong Kong hides a supernatural power beneath her seemingly fragile exterior, the ability to enter people’s subconscious and see their traumatic memories. When tough cop/single father Officer Ho asks her assistance, in order to find out the motive on the case of a social worker murdering his entire family and attempting to commit suicide afterwards, Ching finds herself having to face another top psychiatrist, Dr Yan, who might have been influencing a number of people to commit similar crimes, but also her own past trauma.
Glenn Chan, a seasoned TV director, creates a film that thrives on its atmosphere, with the combination of supernatural and psychological thriller, along with a whodunit and a whydunit element creating a rather entertaining tension, that actually carries the movie from beginning to end, while posing a number of psychological and philosophical questions. The question of if a psychiatrist can influence his patients any way he/she can emerges as the most interesting one, although the ones focusing on the consequences of trauma and the eternal question of if people are born or become, are equally intriguing, with the latter also becoming the field of battle for the two psychiatrists.
Chan revolves his narrative around these comments, not omitting to include much action and violence in order to please his audience, while also drawing as much as possible from the antithesis, in appearance, social conduct, and mentality of his two protagonists. In that regard, Stephy Tang gives an impressive performance in the role of Dr Tsui, with the way she is repeatedly deconstructed and pieced together again as a character, being one of the best traits of the movie. On the other hand, Philip Keung, as the embodiment of masculinity, is a bit wooden and “expected” in his performance, despite the fact that the concept of his little daughter is there to dull his character’s machismo. As an antithesis, however, it works quite well.
As is usually the case in HK action (thriller or not) films, the script does not withstand any particular scrutiny, since the plot holes are quite big and the overall story quite hyperbolic, with the whole concept of Ho’s daughter and the way it is connected with the main case being a testament to the fact. Furthermore, the delving to the subconscious Dr Tsui exhibits could be perceived as an “easy way out”, although it works quite well in terms of entertainment.
Technically, “Shadows” is on the top level. The set design, in combination with the coloring and the overall cinematography is top notch, with particularly the scenes Dr Tsui delves into the subconscious of various characters being a true wonder to look at, while emitting a sense of mystery and angst at the same time, that occasionally even touches the borders of the noir. The editing is also top notch, with the rather fast pace working excellently for the overall narrative, while a number of montages, as the one with the brutally realistic operations, being rather memorable.
“Shadows” is an impressive debut that manages to rise above its narrative errors through its overall atmosphere, technical prowess, and Stephy Tang’s acting, resulting in a truly entertaining thriller.
