Recently screened at the San Diego Asian Film Festival, “All That We Love” presents a messy yet delightful take on navigating the aftershocks of loss.
All That We Love is screening at San Diego Asian Film Festival
The dramedy directly begins with the death of a dog. Emma’s empty home is filled with soft wind chimes as she trembly sings through the final breaths of her beloved companion, Tanner. However, this is not the only piece of sorrow she faces, as many are brought to the surface as the film unfolds. Her daughter, Maggie, is on the verge of leaving for Australia, extending what she once called a five-week trip with her boyfriend into five months, leaving Emma to confront her fear and sadness of being apart. To add to the chaos, Emma also has to face rising tensions both at work and in friendship. As she struggles to cope with these upheavals in her relationships, Emma’s estranged ex-husband, Andy, unexpectedly returns, revealing unresolved emotions from their past.
Yen Tan approaches the weighty themes of mourning with a blend of humor, creating an entry point into a difficult topic that might otherwise feel heavy for audiences. There are oddly funny scenes appearing in between the seriousness. For instance, when her coworker Kayla’s earnest plea to be fired if layoffs increase or when Emma frantically struggles to take care of her new foster dog. Tan brilliantly softens the story’s somber edges by weaving in these moments of hilarity.
Unfortunately, Tan and Clay Lifords’ creative plot is not without flaws. Most narrative layers are presented at a slightly dissected and meandering pace. Although this is excusable as there are plenty of sub-plots in the production, it results in a lack of clarity in some parts, leaving the audience to piece together the complex relationships between Emma, her dog, her family, her work, and her friendship. In addition, while the film is said to be centered on pet grief, the dog’s role mostly fades to the background as the writers shift their focus to Emma’s different problems. When the movie reaches its end, Tanner’s presence feels more like a quiet, symbolic backdrop rather than serving as an important anchor. This unpolished and scattered approach, albeit being realistic in portraying the disordered nature of loss, consequently does make the story feel disconnected.
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The choice of featuring comedic actors in dramatic roles is rather a surprise. Margaret Cho, the well-known comedian, leads as Emma Gwon, a woman quietly grappling with the complexity of grief. Despite being able to successfully capture the poignant moments, Cho’s acting occasionally feels rather constrained. Not to mention, her dialogues oftentimes spell out emotions in a very straightforward manner. It would be more impactful if those feelings were left unsaid and instead expressed through other methods. In contrast, Kenneth Choi shines in his role, delivering a nuanced performance with his subtle expressions and gestures. His on-screen chemistry with Alice Lee, who plays Maggie, is especially compelling. Their capability to deliver their characters’ sentiments, especially in the diner scene where the father and daughter attempt to reconnect, makes their scenes together easily the best ones in the movie.
The attention to the visual aspects lends depth to the story’s emotional landscape. Production designer Angelique Clark skillfully constructs Emma’s world, using set details—such as photographs and a distinctly melancholy kitchen—to reflect her inner state. In one notable scene, Emma stands in her cold, blue-toned kitchen, illuminated by the soft, warm lighting crafted by cinematographer Jon Keng. This moment, without Emma even facing the camera, beautifully captures her isolation, drawing the viewer into her quiet sorrow. It is not an overstatement that the cinematic elements can deliver emotions even better than the narrative.
At its heart, “All That We Love” is a raw yet heartfelt exploration of grief that, through all its imperfections, extends genuine comfort to everyone who has been through loss.
