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The Butterfly
Tornado Alley
Cette critique peut contenir des spoilers
"Breaking one arrow is easy, a bundle is not"
A Home with a View is a rather typical Hong Kong comedy with lots of yelling and manic action. What sets it apart is its theme about overcrowded living spaces in the densely populated city and the emotional pressure it puts on the residents crammed into their homes. The overacting and nearly constant yelling could be off-putting, but the story underneath had a current of societal desperation and sinister truth running through it.
The Lo family lives in a crowded apartment which gives them no real privacy. They are paying a large mortgage in order to have a slice of visibility of the harbor. Tempers erupt on a regular basis, but are soothed when the family clusters around the small window and drink in the tiny tranquil view of nature. They live in a building with people as crazy, er, eccentric as themselves. Unaware of their own distracting noise, the mother picks fights with the butcher (Lam Suet) who lives upstairs while the kids yell at the old man below whose tobacco smoke drifts into their apartment at dinner time. While the father seeks peace with the neighbors, sometimes in an overly generous fashion, the rest of the family pretty much finds themselves in conflict with everyone. This is not just a failing on their part, no one around them is looking for harmony with each other either. The contentious Lo family's only pressure valve is threatened when a callous neighbor erects a garish billboard with Karl Maka's face on it obstructing their view.
Wong (Louis Koo), a lonely man who feels unseen, refuses to take down the billboard, relishing the attention. The family runs up against an immovable and uncaring bureaucratic wall of paper. A fight over whether it's art or advertising ensues. Ultimately, the family is found in the right, but the process for removing the hated monstrosity could take years or even decades. They can't even sell their flat as the loss of the harbor view drastically devalued their home. Meanwhile the family is slowly descending into madness without their precious view. The film takes a dark turn as they run out of options and coping mechanisms.
There were some odd scenes thrown into the mix. A truly unique teenage pregnancy scene where it comes to light helping a schoolmate deliver a baby will earn you a demerit. You also would not want to do battle with Mama Lo over a fish in the market. Every element of society seemed on edge in the manmade cement prison.
The family was not alone in its need for something to bring them peace. The offending butcher above found nightly peace in his pork pies. The old man dying of cancer below escaped into his evening smokes and eventually into death. The Lo family dealt with their existential crisis in a decidedly permanent manner. The film explored family and the people struggling daily to survive financially and with their sanity intact in the overcrowded city. The Lo Family united first at their serene window, then in their fight against Wong, and in the end…their madness.
4/4/23
The Lo family lives in a crowded apartment which gives them no real privacy. They are paying a large mortgage in order to have a slice of visibility of the harbor. Tempers erupt on a regular basis, but are soothed when the family clusters around the small window and drink in the tiny tranquil view of nature. They live in a building with people as crazy, er, eccentric as themselves. Unaware of their own distracting noise, the mother picks fights with the butcher (Lam Suet) who lives upstairs while the kids yell at the old man below whose tobacco smoke drifts into their apartment at dinner time. While the father seeks peace with the neighbors, sometimes in an overly generous fashion, the rest of the family pretty much finds themselves in conflict with everyone. This is not just a failing on their part, no one around them is looking for harmony with each other either. The contentious Lo family's only pressure valve is threatened when a callous neighbor erects a garish billboard with Karl Maka's face on it obstructing their view.
Wong (Louis Koo), a lonely man who feels unseen, refuses to take down the billboard, relishing the attention. The family runs up against an immovable and uncaring bureaucratic wall of paper. A fight over whether it's art or advertising ensues. Ultimately, the family is found in the right, but the process for removing the hated monstrosity could take years or even decades. They can't even sell their flat as the loss of the harbor view drastically devalued their home. Meanwhile the family is slowly descending into madness without their precious view. The film takes a dark turn as they run out of options and coping mechanisms.
There were some odd scenes thrown into the mix. A truly unique teenage pregnancy scene where it comes to light helping a schoolmate deliver a baby will earn you a demerit. You also would not want to do battle with Mama Lo over a fish in the market. Every element of society seemed on edge in the manmade cement prison.
The family was not alone in its need for something to bring them peace. The offending butcher above found nightly peace in his pork pies. The old man dying of cancer below escaped into his evening smokes and eventually into death. The Lo family dealt with their existential crisis in a decidedly permanent manner. The film explored family and the people struggling daily to survive financially and with their sanity intact in the overcrowded city. The Lo Family united first at their serene window, then in their fight against Wong, and in the end…their madness.
4/4/23
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