As previously noted, Sinophone cinema is currently flourishing with family dramas, delivering quality titles from across the diaspora. “Family Matters,” which reunites director Pan Ke-yin with the cast of his debut “My Sister,” continues this trend.
Family Matters is screening in Far East FIlm Festival
The narrative unfolds across four time periods, each focusing on a member of the Hsiao household, with their names corresponding to the season in which their story takes place. In the first segment, Spring, the elder sister, discovers she is adopted, sending her world into turmoil and intensifying her already strained relationship with her mother, Autumn. This leads into Autumn’s arc, set in the past, where her and her husband’s efforts to conceive a son result in him asking his friend, Yuan, to be a donor.
The story then shifts to the younger brother, Summer, who, after graduating and during a regional water shortage, ends up working as a manager at Yuan’s hotel. This segment provides the film’s most humorous moments, though it maintains a tragicomic tone. The final and most dramatic segment focuses on the father, Winter, whose gambling habits and temper gradually alienate him from his family in the most dire way.
In that fashion, the back and forths in time are embedded seamlessly in the narrative, progressing the story while answering any questions raised. At the same time, the transition from one arc to the other is excellent, both technically and contextually, with the way one ends and the next begins being a connection feat unto itself.
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This approach allows for an in-depth exploration of each family member, fostering empathy and genuine interest in their lives and interactions. The daughter’s struggle with her adoption, the bullied son mistreated by his father, the mother’s extreme measures to conceive, and the father’s subsequent downward spiral are all captivating elements that enhance the story.
The performances are exceptional. Lan Wei-hua portrays the troubled father with a balance of anger and sorrow. Alexia Kao as Autumn effectively conveys her character’s outspoken nature, internal conflict, rage, and disappointment. The blackmail scene stands out as particularly impactful, bolstered by Jack Yao‘s subtle performance as Yuan. Tseng Jing-Hua brings a cool detachment and eventual cockiness to Summer, serving as the primary source of the film’s humor. Queena Huang adeptly portrays the seemingly tough tomboy and the regretful daughter, rounding out the strong ensemble cast.
Patriarchy, and the way it is shown in Autumn’s obsession to give birth to a son, as much as not being satisfied with a daughter is one of the most poignant. The way Winter perceives money follows up, while the difficulties families face, particularly in extreme situations of poorness and necessity, cement the rich commentary here.
The cinematography is another highlight. The framing of various settings is exquisite, with interiors often depicted as claustrophobic and exteriors, even small courtyards, presented as joyful spaces. The visuals align with the seasons and characters, with top-notch lighting and coloring enhancing the storytelling.
In conclusion, “Family Matters” stands out as an excellent example of contemporary family drama, offering a compelling narrative, strong performances, and insightful commentary, in a style that reminds of Koreeda’s “Like Father, Like Son”. It is undoubtedly a contender for one of the best movies of the year.
