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Lilting 2014 123movies

Lilting 2014 123movies

Aug. 07, 201491 Min.
Your rating: 0
7 1 vote

Synopsis

#123movies #fmovies #putlocker #gomovies #solarmovie #soap2day Watch Full Movie Online Free – In contemporary London, a Cambodian-Chinese mother mourns the untimely death of her son. Her world is further disrupted by the presence of a stranger. We observe their difficulties in trying to connect with each other without a common language as, through a translator, they begin to piece together memories of a man they both loved.
Plot: A young man of Chinese-Cambodian descent dies, leaving behind his isolated mother and his lover of four years. Though the two don’t share a language, they grow close through their grief.
Smart Tags: #language_barrier #mourning #grief #homosexual #gay #boyfriend_boyfriend_relationship #loss_of_loved_one #cultural_difference #loss_of_lover #loss_of_son #mother_son_relationship #cambodian_chinese #death #translator #mourning_one’s_lover #worrying_about_one’s_mother #gay_son #asian_man_white_man_relationship #mother_love #death_of_lover #memory


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Ratings:

Lilting 2014 123movies 1 Lilting 2014 123movies 27.2/10 Votes: 6,141
Lilting 2014 123movies 3 Lilting 2014 123movies 282%
Lilting 2014 123movies 5 Lilting 2014 123movies 261/100
Lilting 2014 123movies 7 Lilting 2014 123movies 27.2 Votes: 91 Popularity: 6.344

Reviews:

Echoes of Wong Kar Wai in this beautiful film
Echoes of Wong Kar Wai resonate beautifully throughout this very moving and understated, and yet very funny film. It can be viewed as a study in grief and cross-cultural misunderstanding or even prejudice. Two people try to comes to terms with the death of the person they each love the most. They are on conflicting sides of desperate love triangle. Each seeks recognition, and each needs to place their love in, an unexpected, context. Each needs to be understood.

In many Wong Kar Wai films the actors speak to each other in different languages with seeming full understanding. It suggests a disjuncture between time, place and culture, where language, usually the unifying factor within the narrative, becomes the source of each character’s isolation. Lilting is self-conscious in its language play and it works powerfully to both comic and emotional effect. This has the magic effect of bending time. Locations are practically sparse, but the film gives the feeling of having moved us quite literally around the world.

The film demonstrates that with translation, there is always something essential that is lost. This might be cultural sensitivity, the feeling that we understand when, actually, we do not. Thus, it questions the assumptions we all make. It might also be the feeling that we know something or someone when actually we do not.

This may sound a heady, difficult mix. Far from it.

The film is beautifully shot, and again we experience something of the camera work of Christopher Doyle (Wong Kar Wai’s leading cinematographer) in the delicate and soft palate of colours, and subtlety of framing which are as evocative as the language play in evoking mood and location. Nothing is wasted in this film. Even landmark pieces of music (another Wong motif) sit perfectly within the cross cultural narrative.

This is a film I will watch again and not simply for the references to Wong Kar Wai, It’s a seamless depiction of loss in a world of seeming falling borders.

I hope you enjoy the film as much as I have.

Review By: dominic_brant Rating: 9 Date: 2014-08-08
There’s no lilting here.
It is unclear what the point of this film was supposed to be. While there are some shots of natural settings that are pleasing to the eye, and while almost anything Ben Whishaw appears in is a pleasure to watch, “Lilting” does not work on any level.

Kai, a young Asian man (a lackluster Andrew Leung) is secretly living with Richard (Whishaw), his British boyfriend, while trying to keep his aging mother Junn (Pei-Pei Cheng) in the dark about their relationship. Although this film is only 4 years old, this concept seems extremely dated, for starters.

Next, Junn is far from decrepit, but Kai has decided to put her in a senior citizens’ living facility, which, despite many comments and arguments about throughout, is quite nice. But having her there seems to be part of a long list of other issues for Kai and for Junn, and those issues are apparently supposed to contribute to the “drama” of this story. I did not buy any of it.

Then, because Kai “likes to take the bus” instead of taking a car, when he finally goes to pick up Junn and bring her back to his apartment so that she can have dinner with he and Richard, and so that he can tell her that he and Richard are a couple, Kai gets killed in a car accident. Why this required this huge set-up about him taking the bus was pointless. He could have been killed in any number of ways; I hate to say this, but the cause for his death was very pedestrian. Sad, of course, for anyone to lose their life, but since Kai is not really likable and because his character is essentially some kind of spoiled, nervous, closeted gay man who didn’t really seem to have a nice word to say about anyone or anything, it was really hard to care one way or another; being killed by a car did not make me have more sympathy for him nor draw me into the story further.

So, now we have the “survivors”: the grieving mother and the boyfriend, who still feels compelled for the longest time to hide the truth from the mother about her son’s relationship. But why? He was dead; what could be gained from hiding the truth?

Then, in some effort for Richard to gain Junn’s trust (I guess this was the motivation), he hires Vann (Naomi Christie), a semi-pro translator, who will help facilitate things between Junn and her senior citizen home paramour, Alan (Peter Bowles). You see, Junn doesn’t speak any English and Alan doesn’t speak any Chinese.

Okay… but… in the scheme of things… this served no purpose and was a separate story entirely. In fact, for a portion of the film Richard disappears while Vann translates everything so Junn and Alan, who has a thing for her, can communicate.

But then Richard works his way back into the equation by first refusing to give Junn Kai’s ashes. Then he gets heated and upset when things don’t work out between Junn and Alan, and when Vann accidentally misuses pronouns during a translation, he goes postal on her and cruelly berates her. I could not understand for one second why Vann tolerated this abuse. Richard must have been paying her a ton of money.

And speaking of that: Apparently Kai and Richard were independently wealthy or Junn had some amazing retirement fund or social security income, because nobody in this film seemed to have any job, except for Vann, and even she seemed to have tons of time to help Richard as he worked through his long list of emotions.

Here’s the thing: Ben Whishaw has talent. And he is the one person in any of the scenes in this film that stands out. But, as has been pointed out elsewhere — the script is so bad that it doesn’t matter how good he is.

Although this was clearly shot on a budget, and the lighting is fairly dark and atmospheric, the look of the film was fairly appealing. In addition to Ben’s talents, Pei-Pei Ching has a certain gravitas about her that is appealing, and Naomi Christie gave a completely natural performance (which still doesn’t excuse why she put up with Richard’s verbal abuse).

But none of those things matter. Finally, after forced angry moments, Richard tells Junn the truth and then she gives some speech, and then essentially the film is over.

If you isolate moments in the film, such as when Richard tells Junn, “He (Kai)… was my life!” — then, yes, there are a few powerful moments — but very few.

Even if Hong Khaou (director/writer) borrowed elements of this story from his own personal experience, and/or of someone he knew — it doesn’t matter. Ultimately it was a bizarre weaving of cultures and languages and I did not feel there was a sense of resolution. Great that Richard finally told Junn the truth (and also that he apologized for not wanting to initially give her Kai’s ashes, and then finally does), but… it really did not require a full film to have reached that point.

Also, the “B” story of Junn and Alan, which somehow bobbed to the top for the majority of the film, just wasn’t that interesting or believable. Naomi Christie’s role was essentially thankless and if she had stood up and stormed out after being mistreated, forcing Richard to use a bilingual dictionary or to somehow otherwise convey the truth of his life via visual aids (hello! the photographs you hid in the bedroom of you and Kai?), the film might have taken some interesting turns. But alas…

I can only assume that “Lilting” was used as the title because of a song that Junn likes that is featured at the top and tail of the film. The female vocalist’s voice was indeed lilting, and perhaps, in some symbolic way, the filmmaker was attempting to use that term and the song to indicate the ebb and flow of life. If so, perhaps that might have been the one powerful thing in this movie, but only in a subtle way.

I do not see how anyone could call this film an “absorbing cinematic experience,” nor rate it as a 10. I had great hopes for it, based on the trailer, but ultimately I was left with a very empty feeling at the end.

Review By: Davalon-Davalon Rating: 2 Date: 2018-10-02

Other Information:

Original Title Lilting
Release Date 2014-08-07
Release Year 2014

Original Language en
Runtime 1 hr 23 min (83 min), 1 hr 31 min (91 min) (USA)
Budget 0
Revenue 0
Status Released
Rated Not Rated
Genre Drama, Romance
Director Hong Khaou
Writer Hong Khaou
Actors Pei-Pei Cheng, Ben Whishaw, Andrew Leung
Country United Kingdom
Awards 4 wins & 7 nominations total
Production Company N/A
Website N/A


Technical Information:

Sound Mix N/A
Aspect Ratio 2.35 : 1
Camera N/A
Laboratory N/A
Film Length N/A
Negative Format N/A
Cinematographic Process N/A
Printed Film Format N/A

Lilting 2014 123movies
Lilting 2014 123movies
Original title Lilting
TMDb Rating 7.2 91 votes

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