Film Review: ‘All Ears’ directed by Liu Jiayin
Rating: ★★★☆☆
The film “All Ears” (Bu xu ci xing), directed by Liu Jiayin, recipient of the Best Actor award at the prestigious Shanghai International Film Festival, is celebrating its international premiere in the Panorama section at the 42nd edition of the Vancouver International Film Festival (VIFF 2023). This cinematic offering is a biographical exploration, adeptly chronicling the life of Wen Shan, a former screenwriter whose vocation centers on the composition of eulogies for others.
In this skillfully crafted film, a profound examination of the themes of decay and mortality unfolds, with Ge Hu assuming the role of Wen Shan. The character Wen Shan, beset by professional stagnation, discovers a modicum of success in the art of eulogy crafting, capitalizing on the memories cherished by his clients for the departed. A profound sense of lifelessness pervades his existence as he becomes ensnared in the fabrication of other individuals’ narratives, even resorting to deceit with regard to his own parents concerning his occupation.
Central to the film’s narrative is the intricately woven tapestry of a strained father-son relationship, characterized by palpable remorse on Wen Shan’s part. In stark contrast, his emotional connection with his mother remains vivid, subtly hinting at unresolved Oedipal complexities. The final abandonment by his homebound partner, a character from an unfinished screenplay, occurs when Wen Shan elects to confront his familial ties.
The film adopts an episodic structure, with the son’s interaction with the forgotten memories of his clients serving as a recurring motif intertwined with the overarching father-son dynamic. It is arguable that Wen Shan’s preoccupation with his own impending demise eclipses his genuine engagement with life.
Noteworthy is the film’s function as a eulogy in its own right, endeavoring to elevate the dignity and reverence accorded to the departed, portraying them in a favorable light.
In the closing sequences, Wen Shan is depicted walking on a treadmill, enraptured by a captivating painting—a symbol emblematic of humanity’s ceaseless quest for an idealized, unattainable ideal of existence.
Regrettably, the episodic narrative structure, while thematically resonant, occasionally detracts from the film’s overall cohesiveness, resulting in an extended runtime that may strain the patience of discerning viewers.
In summary, “All Ears” stands as a contemplative odyssey through themes of mortality, identity, and the manipulation of reality, firmly anchored by the consummate artistry of Ge Hu’s performance. However, its episodic storytelling and pacing idiosyncrasies may pose accessibility challenges to certain segments of the audience.
