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Film Review: Joyful Reunion (2012) by Tsao Jui-Yuan

Joyful Reunion Huo Siyuan, Jiang Mengjie
"If you relax and stay calm, you won't get hurt"

A spiritual successor rather than a direct sequel to ‘s classic “”, the 2012 Taiwanese drama “”, also billed as “Eat Drink Man Woman 2”, also focuses on the ‘adventures’ of a family and their connection with food, this time with a vegetarian twist.

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Tang Shizhe is a master chef in Hangzhou, running a vegetarian restaurant where attention to every detail, from the chef’s posture while slicing vegetables to the timing and weather conditions of ingredient harvesting, is paramount. Just as the story begins, he finds himself faltering, and without explaining his reasons, decides to shut down the business. He announces the news to his two stunned, meat-loving daughters, Wa’er and Xiaolan, who are already forced into awkward weekly vegetarian family dinners, sending their messy lives into further disarray.

Wa’er is in a relationship with a socially awkward game designer, Zhang Quan, whose lack of time and emotional awareness increasingly frustrate her. Matters worsen when his meddling grandaunt, Bai Ping, tries to play matchmaker with comically disastrous results. Her disdain for gourmet and vegetarian cuisine is only the beginning, as her free-spirited, constantly dancing demeanor causes chaos. Meanwhile, Xiaolan, the more impulsive sister, is entangled in her own relationship troubles, though much of her turmoil seems rooted in misunderstanding. When Shizhe announces a final dinner at the restaurant, unresolved issues rise to the surface, but so does a glimmer of hope.

To address the drawbacks first, comparisons to Ang Lee’s original leave “Joyful Reunion” trailing behind. “Eat Drink Man Woman” remains stronger across the board. In particular, the focus on Bai Ping feels disconnected and overly flamboyant, with an attempt at comedy that falters early. The daughters’ relationship arcs are also underdeveloped, and the love story that eventually unfolds feels overly sentimental and unconvincing.

Apart from this, however, there are a number of traits here. For starters, the presentation of food, and particularly the intricacy involved, both in the restaurant and outside of it is a feat in itself. The flower-blooming dish in particular will definitely stay in mind, with the movie being a true treat to any vegetarian viewer.

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This aspect benefits the most from Chin Ting-chang’s cinematography, which captures particularly the food and its preparation and the rather picturesque restaurant in impressive fashion. Stone Ho and Liao Ching-Sung’s editing results in a fitting, fast pace, but as previously mentioned, the movie has pacing issues and the editing does not help with that.

Furthermore, the acting and charisma of the two daughters retains interest in the movie for the majority of its duration. plays the calm, composed and gorgeous Wa’er with artistry, with the moments she is sad, frustrated or happy being among the best aspects of the movie. as Xiaolan is equally fun to watch, particularly with her short temper and erratic behaviour. as Bai Ping has a number of moments, particularly in the most dramatic scenes, while as Shizhe steals the show in all the cooking-relevant scenes in the movie.

“Joyful Reunion” is a problematic film, but there are enough elements here, particularly the presentation of food and the acting that make it a title worth watching.

About the author

Panos Kotzathanasis

Panagiotis (Panos) Kotzathanasis is a film critic and reviewer, specialized in Asian Cinema. He is the owner and administrator of Asian Movie Pulse, one of the biggest portals dealing with Asian cinema. He is a frequent writer in Hancinema, Taste of Cinema, and his texts can be found in a number of other publications including SIRP in Estonia, Film.sk in Slovakia, Asian Dialogue in the UK, Cinefil in Japan and Filmbuff in India.

Since 2019, he cooperates with Thessaloniki Cinematheque in Greece, curating various tributes to Asian cinema. He has participated, with video recordings and text, on a number of Asian movie releases, for Spectrum, Dekanalog and Error 4444. He has taken part as an expert on the Erasmus+ program, “Asian Cinema Education”, on the Asian Cinema Education International Journalism and Film Criticism Course.

Apart from a member of FIPRESCI and the Greek Cinema Critics Association, he is also a member of NETPAC, the Hellenic Film Academy and the Online Film Critics Association.

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