In the beginning of A Sun (陽光普照), driving instructor A-wen (Chen Yi-wen, 陳以文) argues with his wife Qin (Samantha Ko, 柯淑勤) about their delinquent son, who is about to be sent to a juvenile correction facility.
“I hope they lock him up until he gets old, lock him up until he dies,” A-wen exclaims.
Of course A-wen isn’t cold-blooded. The complex combination of emotions — anger, disappointment, grief, sadness, love — of a repressed man who avoids facing his feelings by pretending he doesn’t care is evident in that one line.
Photo courtesy of atmovies.com
Qin provides the contrast. She’s the one facing the family issues directly, but she also remains mostly stoic and matter-of-fact, taking whatever life throws at the family even though she’s obviously exhausted.
This kind of family dynamic is fairly common in Taiwanese society. Although every family member deeply cares for each other, they shut each other out and even say hurtful things, often preferring to secretly “help” in ways that cause even more discord. A-wen’s character exemplifies this archetype — frail, crooked and wrinkled but unwilling to bend even a little bit.
The bulk of the action and dramatics revolves around the son A-he (Wu Chien-ho, 巫建和), who is as inept as his father at expressing himself, preferring to solve problems through violence. He frequently says “I’m fine,” when he’s clearly not. Wu also does a superb job with the troubled character’s development over the four years in which the film takes place, serving as a believable catalyst for the entire film’s events.
However, it is Chen and Ko’s subtle yet powerful performances that drive the suffocating tension that carries the two-and-a-half hour film and makes this ordinary story about ordinary people shine. It takes top-notch acting to make such a layered drama work, and the supporting actors such as Liu Kuan-ting (劉冠廷), who plays A-he’s old delinquent buddy and the movie’s “villain,” also hold their own.
This is the latest work by acclaimed director Chung Mong-hong (鍾孟宏), who won a Golden Horse for best director for the 2010 The Fourth Portrait (第四張畫), which is also about troubled youth. The cinematography is rich and vibrant, making masterful use of darkness and light, especially sunlight — whether soft or blinding — echoing the title of the film.
The sun, although warm and life-sustaining, can also burn. What if there are no more shadows to protect us from the burning sun? laments A-he’s handsome and successful elder brother A-hao (Greg Hsu, 許光漢). Although he doesn’t have a major role in the movie, he inadvertently becomes the “sun” that eats up the shadows and forces everything into the open.
No matter how loving a family is, very few can be completely open with each other, each harboring some deep and often dark secret. Sometimes it takes pain and misfortune to expose them, and the family either disintegrates or becomes closer through the process.
Even though the movie is 155-minutes long, there are parts that could have been elaborated on. For example, perhaps A-hao could have had a more prominent role, as his stark contrast to A-he as the family’s “golden boy,” and clearly the father’s favorite, would have made for some interesting development.
Although Qin plays the strong motherly role well, the story is still more about father-and-son as well as the ties between fellow delinquents and gangsters, namely male-to-male relationships. There are also some intriguing female bonds in the story, such as A-he’s young and pregnant girlfriend Xiaoyu (Wu Tai-ling, 吳岱凌) whom Qin takes under her wing, but this part is left largely unexplored.
But that’s just nitpicking. Chung handles the subtleties and complexities of humanity extremely well, and A Sun will probably win many awards come Golden Horse time and leave its mark among the masterpieces of Taiwanese cinema.
July 1 to July 7 Huang Ching-an (黃慶安) couldn’t help but notice Imelita Masongsong during a company party in the Philippines. With paler skin and more East Asian features, she did not look like the other locals. On top of his job duties, Huang had another mission in the country, given by his mother: to track down his cousin, who was deployed to the Philippines by the Japanese during World War II and never returned. Although it had been more than three decades, the family was still hoping to find him. Perhaps Imelita could provide some clues. Huang never found the cousin;
Once again, we are listening to the government talk about bringing in foreign workers to help local manufacturing. Speaking at an investment summit in Washington DC, the Minister of Economic Affairs, J.W. Kuo (郭智輝), said that the nation must attract about 400,000 to 500,000 skilled foreign workers for high end manufacturing by 2040 to offset the falling population. That’s roughly 15 years from now. Using the lower number, Taiwan would have to import over 25,000 foreigners a year for these positions to reach that goal. The government has no idea what this sounds like to outsiders and to foreigners already living here.
Lines on a map once meant little to India’s Tibetan herders of the high Himalayas, expertly guiding their goats through even the harshest winters to pastures on age-old seasonal routes. That stopped in 2020, after troops from nuclear-armed rivals India and China clashed in bitter hand-to-hand combat in the contested high-altitude border lands of Ladakh. Swaths of grazing lands became demilitarized “buffer zones” to keep rival forces apart. For 57-year-old herder Morup Namgyal, like thousands of other semi-nomadic goat and yak herders from the Changpa pastoralist people, it meant traditional lands were closed off. “The Indian army stops us from going there,” Namgyal said,
A tourist plaque outside the Chenghuang Temple (都城隍廟) lists it as one of the “Top 100 Religious Scenes in Taiwan.” It is easy to see why when you step inside the Main Hall to be confronted with what amounts to an imperial stamp of approval — a dragon-framed, golden protection board gifted to the temple by the Guangxu Emperor that reads, “Protected by Guardians.” Some say the plaque was given to the temple after local prayers to the City God (城隍爺) miraculously ended a drought. Another version of events tells of how the emperor’s son was lost at sea and rescued