For the vast majority of people, getting a haircut is an essential task to which we rarely give a second thought. However, it's the intense subject of Fu Tien-Yu's latest film, “Day Off”. Through exploring this often mundane chore, the director delves into the relationships and social interactions of everyday life and ponders their importance over time.
“Day Off” is screening at Udine Far East Film Festival
A-Rui (Lu Hsiao-Fen) has been running the same barbershop for over forty years. She knows her clients like the back of her hand and always cuts their hair just right, which keeps them coming back. One day, she discovers that one of her regulars is unwell, so she decides to take a trip to visit him and do what she does best – give him a haircut.
Nearly every facet of A-Rui's life revolves around haircuts. For her, it's a way to help people feel good about themselves and deliver a caring service that keeps them satisfied. However, as the narrative develops, it becomes clear that the simple act of hairdressing alone isn't why A-Rui is so attached to her salon. The relationships that she's developed over the years and her place in the local community have mostly come through hairdressing. For her, this isn't just a profession or a source of income; it's a vital routine that keeps her in touch with the world.
A strong sense of community runs throughout “Day Off”, which comes to the forefront in the film's admittedly drawn-out ending. A-Rui and her peers, while not averse to new technologies, are settled in their ways, so they depend on one another to get through daily life. The generational divide between the ageing hairdresser and her somewhat bratty children is reiterated throughout, as the kids can't understand why their mother clings to her traditional routine. When A-Rui reaches her ailing client, we get a sense of just how important her work can be, both to her and the wider community.
The only character who is similar to A-Rui and empathises with her selfless attitude is the overly-considerate mechanic Li Chuan-Chen (Fu Meng-Po), who, at the expense of his marriage, often turns a blind eye to late payments from customers. While the film encourages kindness and understanding through these two characters, it also highlights the naivety of having an altruistic approach to the modern world. Tien-Yu merely observes contemporary attitudes and lifestyles rather than critiquing them, highlighting the differences across generations when it comes to cultural and social aspirations.
“Day Off” is enhanced by the cinematic return of Lu Hsiao-Fen (“A Flower in the Rainy Night”, “Song of the Exile”), who graces the screen for the first time in over twenty years. The veteran actor settles into the role of a subtly pushy mum quite well, nagging her children to do more with their lives and bombarding them with unwelcome advice. In a reserved performance, Hsiao-Fen presents A-Rui as a reassuring figure who inspires comfort in those around her, despite being tinged with personal unease. The actress handles the film's more tender moments deftly and makes clear the weight that rests on A-Rui's shoulders.
With “Day Off”, Fu Tien-Yu manages to capture the intimacy of everyday interactions that shape our lives and become embedded in our existence. While some characters are unjustly thrown to the wayside, A-Rui's journey is a warm and enjoyable one, made better through Lu Hsiao-Fen's refined performance. A tender slice-of-life drama, the film might prompt you to pay a little more attention the next time you're due a trim.
