Still Human (2018) Review

“Still Human” Theatrical Poster

Director: Oliver Siu Kuen Chan
Writer: Oliver Siu Kuen Chan
Cast: Anthony Wong, Crisel Consunji, Sam Lee Chan-Sam, Cecilia Yip Tung, Wong Ting-Him
Running Time: 115 min.

By Martin Sandison

One of the all-time greatest actors in Hong Kong movie history, Anthony Wong (The Untold Story), has appeared in so many of the classics in his time, in so many different genres, he’s unclassifiable. In recent times, Wong has shown outspoken support for the Umbrella movement in Hong Kong, and has taken a stance against the Mainland Chinese Government’s growing control of Hong Kong society. This has resulted in him being put on a blacklist for making films in China, and with the vast majority of Hong Kong movies being fully or partially funded by China, work has dried up for him. Enter the growing Independent film scene, and like Eric Tsang and Shawn Yue in Mad World (2016) three years ago, Wong waved his payment and worked to an incredibly tight schedule to make the low key drama Still Human last year. A revelatory performance, one that saw him win the Hong Kong film award for best actor, and beautifully sympathetic direction from first time director Oliver Chan, as well as great support from newcomer Crisel Consunji make the film a must-watch for fans of Wong and the vital new style of Hong Kong cinema.

Cheong-Wing Leung (Wong) is a middle-aged man who is paralysed from the waist down after a construction site accident. Enter his new carer, Evelyn (Consunji), a Filipino immigrant who really needs the job. At first, Cheong-Wing is indignant and makes Evelyn’s life a misery, but as time goes on the two create a bond full of empathy, respect and support for each other. As they learn about each others lives and loves, a complex portrait of humanity is painted.

Mad World is a film I connect with on a personal level, as some of the experiences the characters go through in the film I can relate to. However, the film is so heavy and, as one friend put it, overly earnest, it’s not one I could watch again and again. Still Human, on the other hand, is so light, humorous and engaging in a sweet, natural way that I want to revisit it very soon. What impresses me so much about the upcoming directors like Chan and Wong Chun (director of Mad World) is that both films feel in the tradition of Hong Kong film-making – there is an innate Hong Kong-ness about them, but they avoid the pitfalls of older dramatic cues which put off many international viewers; namely saccharine, schmaltzy, cheesy aspects. Still Human has elements of the Hong Kong dramatic tradition in its style and approach, Chan said the classic Comrades: Almost a Love Story (1996) was an influence, but rises above them and has a playful feel in its performances and aesthetic that takes a left turn.

To say this is one of the best performances I’ve ever seen from Anthony Wong is not hyperbole; the awards and kudos he has received from all areas attest to this opinion. A world away from the excesses of Category 3 gems like Ebola Syndrome (1996) and cool gangster chic of films such as Exiled (2006), it’s one full of nuance, humour and humanity. Cheong-Wing seems a broken man in the opening scenes of the film, but regains his spirit as he sees the vitality and compassion of Evelyn. Consunji conveys this with great heart, and it’s no small feat that she manages to be a worthwhile screen partner for Wong, and also gives a voice to Filipino immigrants who live in Hong Kong.

The character arc of Cheong-Wing is one that lends itself to depth, and with a talent like Wong this is portrayed in quite beautifully. His rediscovery of life and companionship is communicated in a subtle and underlyingly powerful way, one that does not seem forced or pretentious, but real. When Evelyn lies to Cheong-Wing about selling a camera to provide for her family, he is understandably angry; but the empathetic side of him and the development of this as the film goes on means he cannot stay this way.

With the size of talent Chan managed to secure in Wong, this led to supporting parts by some other Hong Kong icons. Sam Lee (Wild City) plays Cheong-Wing’s old friend, and it’s great to see them together again onscreen, with my frame of reference being the brilliant Beast Cops. He plays up the amusing side of the film, like in one scene when the two have a porn marathon once Evelyn has left one day. Cecilia Yip (To Be Number One) also turns up. Onboard as producer is Fruit Chan (The Midnight After), whose career has had a resurgence of late with the upcoming Invincible Dragon and a film that has to be seen to be believed, the sexually extreme but comedic Three Husbands (2018).

There are some problems with the film’s presentation; sure you can give leeway for an ultra-low budget and tight production schedule, but there is a lacklustre visual sense at times. For my money, Mad World had a better style married with its substance. Scenes with other actors featured also fall a little flat, especially with the other Filipino characters that Evelyn befriends, despite adding to the dimensions of her character as an immigrant.

Still Human is a film that resonates hope; something in these critically uncertain times we all need. The new low key dramatic approach, with other movies such as the worthy recent offering The Crossing (2014) bolstering the genre, gives me hope for the future of Hong Kong film making. While we may bemoan the move away from what was once the vital action genre, with movies like these coming from new voices, it’s not all so bad.

Martin Sandison’s Rating: 8.5/10