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Lost, Indulgence (DVD) (Hong Kong Version) DVD Region 3

Karen Mok (Actor) | Jiang Wen Li (Actor) | Eason Chan (Actor) | Eric Tsang (Actor)
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Lost, Indulgence (DVD) (Hong Kong Version)
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Customer Rating: Customer Review Rated Bad 8 - 8 out of 10 (1)

YesAsia Editorial Description

After a fast turn on the night road, cabbie Wu Tao (Eric Tsang) drives right into the Yangtze River and apparently drowns, though his body is nowhere to be found. His passenger, club hostess Su Dan (Karen Mok), is left with a severely fractured leg. Unable to pay mounting hospital bills but determined to take responsibility, Wu Tao's wife Li (Jiang Wenli) decides to take in Su Dan, and care for her during recuperation. Though Li's angsty teenaged son Xiao Chuan (Tan Jianci) is initially less than thrilled with the loud and demanding guest, some odd semblance of normalcy settles while relationships change; Li befriends a younger man (Eason Chan), and Xiao Chuan falls for the older Su Dan. But as the days pass in that hot and cramped flat, the ambiguous connections and unspoken tensions among the increasingly infatuated Xiao Chuan and the mutually weary Su Dan and Li begin to drive lives in unexpected directions, and hearts to unanswered questions.

Spring Subway and Curiosity Kills the Cat director Zhang Yibai helms the intriguingly titled and even more intriguingly told Mainland Chinese drama Lost, Indulgence. Set amid the rapid industrialization and hellfire heat of Chongqing, the film stars Eric Tsang, Eason Chan, Karen Mok, and Karen Mok's legs, as well as Mainland actress Jiang Wenli (Mr. Zhao, And the Spring Comes) and newcomer Tan Jianci. Though framed by a plot puzzle that pushes and pulls from all directions, Lost, Indulgence maintains a solid, subtle, and engaging narrative core revolving around the emergent relationships and identities of each character. Jiang Wenli and Karen Mok, in particular, delivering outstanding performances as two very different women who may share more than they say. Indeed, Lost, Indulgence is the rare film in which what is not revealed is as, and perhaps more, important than what is.

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Technical Information

Product Title: Lost, Indulgence (DVD) (Hong Kong Version) 秘岸 (DVD) (香港版) 秘岸 (DVD) (香港版) 秘岸 (香港版) Lost, Indulgence (DVD) (Hong Kong Version)
Artist Name(s): Karen Mok (Actor) | Jiang Wen Li (Actor) | Eason Chan (Actor) | Eric Tsang (Actor) 莫文蔚 (Actor) | 蔣雯麗 (Actor) | 陳 奕迅 (Actor) | 曾志偉 (Actor) 莫文蔚 (Actor) | 蒋雯丽 (Actor) | 陈 奕迅 (Actor) | 曾志伟 (Actor) 莫文蔚(カレン・モク) (Actor) | 蒋雯麗 (チァン・ウェンリー) (Actor) | 陳奕迅(イーソン・チャン) (Actor) | 曾志偉 (エリック・ツァン) (Actor) Karen Mok (Actor) | Jiang Wen Li (Actor) | Eason Chan (Actor) | Eric Tsang (Actor)
Director: Zhang Yi Bai 張 一白 张 一白 張一白(チャン・イーバイ) Zhang Yi Bai
Release Date: 2008-12-19
Language: Cantonese, Mandarin
Subtitles: English, Traditional Chinese, Simplified Chinese
Place of Origin: Hong Kong
Picture Format: NTSC What is it?
Aspect Ratio: 1.78 : 1, Widescreen
Sound Information: Dolby Digital 5.1, DTS Extended Surround(TM) / DTS-ES(TM)
Disc Format(s): DVD
Region Code: 3 - South East Asia (including Hong Kong, S. Korea and Taiwan) What is it?
Duration: 96 (mins)
Publisher: Kam & Ronson Enterprises Co Ltd
Package Weight: 120 (g)
Shipment Unit: 1 What is it?
YesAsia Catalog No.: 1012948365

Product Information

導演: 張一白

清晨。重慶。一場車禍,打破了一個三口之家原本平靜的生活。丈夫吳濤開的計程車墜入江中,吳濤失蹤,留下一名受傷的女乘客:酒家女蘇丹。面臨高額賠償,吳的太太凡麗只能先把蘇丹接到家中休養;這個決定,卻完全改變了凡麗與他兒子小川的生活……。飾演蘇丹的莫文蔚是全片靈魂,曾志偉、陳奕迅等綠葉襯托,把這個成長小說般的故事,說得迷人。
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YumCha! Asian Entertainment Reviews and Features

Professional Review of "Lost, Indulgence (DVD) (Hong Kong Version)"

December 18, 2008

Zhang Yibai (Curiosity Killed the Cat) directs the curiously-titled Lost, Indulgence, a delayed Mainland drama made notorious by cancellations at both the Hong Kong International Film Festival and the Udine Far East Film Festival. The film finally premiered weeks later at the Tribeca Film Festival after getting approval from SARFT (State Administration of Radio, Film, and Television), but its multiple false starts give it an air of loaded expectation. Is there something going on in Lost, Indulgence that makes it problematic for China's notoriously prickly film approval board?

Having seen the film, I would say "possibly" - but that thought comes with the multiple caveats that I don't understand what makes China's film approval board tick, plus I have no idea what, if anything, was censored in the film. Regardless of any raised eyebrows from admittedly overcritical cinema readers, China finally let the film pass. If there's still stuff in there casts a negative light on China, they either A) let it go, or B) completely missed it. Now that the film is finally here, we can judge for ourselves. Lucky us.

Lost, Indulgence takes place in rapidly industrializing Chongqing, and details the intricate and fragile relationship between three people stricken by a sudden and initially inexplicable loss. Cab driver Wu Tao (Eric Tsang) drives his taxi into the Yangtze River, leaving both wife Li (Jiang Wenli) and son Xiao-Chuan (Tan Jianci) alone and without financial support. The third victim of his apparent death is Su Dan (Karen Mok), a club girl who was riding in the taxi when it took its unscheduled swim.

Su Dan is hospitalized as a result of the accident, her leg fractured in multiple places. She may be crippled for life, and has no family or other means of support. Wu Tao's body is missing and probably somewhere at the bottom of the river, and while the family waits for news of his corpse or, optimistically, his hale-and-hearty return, Li offers to fulfill the family obligation to Su Dan by letting her move in while she recuperates. They live in a factory where Li serves as a medic, and the family flat is small and cramped. Su Dan's wheelchair makes it tough for her to get around, but this new, makeshift family does their best to get along.

That is, except Xiao-Chuan. Young and sullen, Xiao-Chuan is going through that difficult stage that post-adolescent youth are prone to. He has an unrequited crush on a flirty classmate, and his missing or dead father preoccupies him. He initially isn't too fond of Su Dan, but something about the mysterious houseguest starts to win him over. It may be that the budding young man is attracted to her always-exposed legs (Karen Mok has tremendous legs, even when one is fractured in multiple places), but aside from her sexuality he may also be affected by her outsider status to the family.

Change is prevalent in both Li and Xiao-Chuan's lives - as it is in rapidly modernizing Chongqing - and everyone is working to keep up, trying to process everything that comes along. Xiao-Chuan is coming of age, questioning his parents and even his place in the world. Li struggles with the loss of her husband, her two jobs, the drop in their income, as well as a personal development she didn't quite expect.

Li also experiences a possible romantic connection with a Hong Kong transplant (Eason Chan), who shows up at her other job - Li works the night shift at a veterinarian clinic - and berates her for letting his dog die. The resolution to that conflict is surprising and even quietly touching, revealing a great deal about the characters and their lives through action and incidental conversation.

Zhang Yibai's strengths are apparent in that scene, and it's his handling that makes Lost, Indulgence a compelling and sometimes surreal look at individuals, their relationships, and how they mash together to create the mess that is life. Xiao-Chuan, Li, and Su Dan are all rendered well, and appear sympathetic even though they may not act that way all the time.

The two actresses are particularly good, creating characters and personalities through performance and emotion, and not revealing dialogue - of which the film has very little. Characters are challenged, make decisions, and reach conclusions, but very little is actually conveyed in the script. Lost, Indulgence is a bit opaque in its storytelling, leading us down its path through its the characters, their actions, the settings, and the camera's quiet, observant gaze. There's some tension and mystery present, but it threads through the film rather than pushing it forward. Ultimately, the journey of these three souls is more revealing than any destination.

However, Lost, Indulgence does proffer a destination, and when it finally arrives, it proves to be impenetrable and not very fulfilling. Xiao-Chuan is apparently a better investigator than any policeman in Chongqing, and soon realizes that there was a long gap between the time his father picked up Su Dan and the moment the taxi plunged into the river. Xiao-Chuan wants to know what happened in that period of time, but Su Dan is not forthcoming. Even odder, his mother is seemingly not curious about the incident at all, though she soon becomes concerned that her son and their leggy houseguest may be getting too close. That lack of forthcoming may not entirely matter, though. Lost, Indulgence never sells narrative over character, nor incident over emotion, and discerning viewers still have much to gain from Zhang's opaque yet evocative look at Chongqing and its people. If characters and relationships are Zhang Yibai's main concern, then he represents them beautifully, creating people and situations that come to matter -regardless of what, how, or why they are the way they are. Each character alternately challenges and affirms the other, and each has a story to tell. Even the presumably dead Wu Tao is fleshed out, if not in actual interaction with others then via his omnipresent portrait on the wall, its expression changing subtly every few scenes.

A good deal can also be gleamed by what the characters aren't telling us, and in many ways that silence is the most telling thing about Lost, Indulgence. The film's most dominant image (besides Karen Mok's legs) is of an unfinished bridge, its two sides reaching towards each other over the Yangtze. The bridge is never seen completed; like the relationships in the film, a gap always exists between the two sides, and yet they continue to reach towards each other, hoping one day for connection, or maybe just that elusive truth.

Lost, Indulgence seemingly has many details that could bother a government interested in only the best depiction of its beloved country. The characters in Lost, Indulgence are identifiable and sympathetic, but there's also a pragmatism to them that says a lot about the society they live in. Zhang Yibai's characters are marginalized, sometimes by themselves, but their downtrodden status also exists due to their class and their location, indicating that the disaffection they feel may have everything to do with living in a rapidly changing, even dehumanizing place like modern China.

Or maybe not - after all, SARFT is famously reactionary, so maybe there's neither smoke nor fire in the film that finally got released. A better question would be if Zhang Yibai and company made any decisions - like omitting the truth about Wu Tao's fate, or simply obscuring it - in order to prevent themselves from possible censure by China. Nowadays, it's easy to read preventive moves by filmmakers into any film requiring SARFT approval, making accurate film criticism a virtual impossibility. Rather than suspect that Zhang Yibai made any choices to preempt a SARFT ban, let's just assume that the film was made exactly the way he wanted it to. With those parameters in place, Lost, Indulgence is an atmospheric, affecting and ultimately inconclusive portrait of regular people and their extraordinary, obscured lives.

by Kozo - LoveHKFilm.com

This original content has been created by or licensed to YesAsia.com, and cannot be copied or republished in any medium without the express written permission of YesAsia.com.

Customer Review of "Lost, Indulgence (DVD) (Hong Kong Version)"

Average Customer Rating for this Edition: Customer Review Rated Bad 8 - 8 out of 10 (1)

Kevin Kennedy
See all my reviews


January 16, 2009

1 people found this review helpful

Illusive tale of lives out of joint Customer Review Rated Bad 8 - 8 out of 10
"Lost.Indulgence" director Zhang Yi Bai must have watched director Zhang Jing Ke's 2006 film, "Still Life", and decided that he wanted to make a movie just like it. "Lost.Indulgence" is similar to "Still Life" in its milieu, its gritty, hyper-realistic feel, and its ineffable, elliptical storytelling style.

The film opens with bar girl Karen Mok entering Eric Tsang's taxi. The cab then dives into the Yangtze River. Next Mok lies in a hospital bed, her badly mangled right leg splinted and raised. Tsang's wife (Jiang Wen Li), feeling responsible for Mok's injury, offers to care for Mok in Jiang's own home until her leg heals. This begins a slow-motion waltz with grief among Jiang Wen Li, her son (Tian Jian Ci), and Mok. Ms. Jiang misses her husband, is confused by the advances of a medical clinic manager (Eason Chan, with a bad hairdo), and is crushed by working two jobs, caring for her son, worrying over an unexpected pregnancy, and nursing Mok to health. Her son deals with an unrequited teenage crush, rage over the loss of his father, and a budding attraction to Mok. Mok realizes that, due to the seriousness of her injury, major changes in her life may be ahead.

The son determines that an hour and fifteen minutes elapsed between when his father picked up Mok and the taxi plunged into the river. He confronts Mok, demanding to know what happened during that time. Mok spins a wild story (depicted on screen) about how Tsang and Mok concocted an idea for a scam in which they would dive out of the taxi just before it crashed. The son finds this scheme too far-fetched to be believed and the viewer is left to wonder whether Mok simply made the story up.

This sense of an unresolved puzzle pervades "Lost.Indulgence" and creates much of its charm (or its frustration). Jiang Wen Li shines throughout the movie, creating its most sympathetic character. Tian Jian Ci gives a surprisingly complex performance. Karen Mok's enigmatic role is more problematic and less fully realized.

For me, "Lost.Indulgence" did not leave as strong an impression as either Zhang Yi Bai's previous film, "Curiousity Killed the Cat", or "Still Life", but I nevertheless can recommend it as an interesting and atmospheric character study of lives jarred by loss and grief.
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