Anthony Chen's 'We Are All Strangers' Offers a Marvellously Addictive Family Drama
Singaporean director Anthony Chen, a graduate of Britain's National Film and Television School, returns to the family drama genre with his latest film, We Are All Strangers. This warm, rich, and approachable picture navigates romantic crises while offering a critical look at Singapore's infatuation with wealth and western prestige.
Return to Form with Forthright Storytelling
Chen, who debuted with Ilo Ilo in 2013, brings care and connoisseurship to this project, drawing influences from Edward Yang and Tsai Ming-liang while maintaining his own less oblique instincts. The filmmaking is forthright and wholehearted, yet never unsubtle, as Chen dots the I's and crosses the T's in this compelling narrative.
Singapore's Societal Pressures Under Scrutiny
The film is set in Singapore, where it critiques the city-state's conformism and obsession with the wealthy elite. It satirically examines the high-wire dangers of entrepreneurialism, particularly as attempted by those living in poverty. Through its characters, the film exposes the illusions of easy success in a society that values material wealth above all else.
Parallel Romantic Crises Unfold
Koh Jia Ler plays Junyang, a goofy, good-natured but shiftless twentysomething who lives with his widowed father Boon Kiat (Andi Lim) in a cramped rented flat. As Junyang finishes his military service, he faces the daunting task of figuring out his future, while adamantly refusing to work at his father's humble noodle stall.
His girlfriend Lydia (Regene Lim), a gifted pianist with university aspirations, faces pressure from her stern, churchgoing single mother who disapproves of Junyang entirely. The couple's decision to lose their virginity at Singapore's luxurious Marina Bay Sands hotel results in an unexpected pregnancy, forcing Junyang to confront adult responsibilities.
Meanwhile, shy and decent-minded Boon Kiat finds love with one of his drinks waitresses, the smart and kindly Bee Hwa (Yeo Yann Yann). This parallel romantic development creates a rich tapestry of intergenerational relationships and challenges.
Two Weddings and a Crowded Home
In what film-maker and critic Mark Cousins might call a recipe for success, Chen gives viewers not one but two wedding scenes as both father and son take their vows. The newly formed family unit - two couples and a baby - must now navigate life together in the same tiny flat, a far cry from the glitzy beachfront apartments Junyang sells in his new career as a flashy estate agent.
Junyang, who adopts the western name "Steve" (inspired by Steve Jobs), represents Singapore's aspirational culture gone awry. His celebration of a supposed property sale turns sour when the buyer's promised deposit fails to materialize, leading to a telling scene where he discovers the show apartment's bathroom has no working water - a metaphor for the emptiness of his newfound lifestyle.
Addictive Storytelling with Heart
Chen delivers addictively brash storytelling with page-turning novelistic energy and marvellous sympathy for his entire cast. The film screened at the prestigious Berlin Film Festival, marking another international success for Singaporean cinema. Through its examination of family dynamics, societal pressures, and the pursuit of happiness, We Are All Strangers offers a compelling portrait of contemporary Singapore that resonates with universal themes of love, responsibility, and identity.
