This grandma’s cookie has a sweet afterthought recipe that you have to be prepared for beforehand.
The writer and director Lulu Wang is on mark. To say that she is onto something would be understating things. And I do mean just this film and not her work throughout her career. For the film is armed with an extremely powerful script. And if looking at her procedure, her execution of this film, it certainly follows textbook rules efficiently. There might not be any boundaries broken or creativity flared across the screen, but just authenticity is displayed. And if thought about it, her own script doesn’t leave anything for her to stretch and celebrate.
The script is beautifully, sharply and almost necessarily edited. Each sequence makes sense, one after the another adds up and lines up fittingly. It flows like it should. If you take out one string of this film, the entire film falls apart. The theme is specifically specific in terms of the situational objections it creates yet, with an incredible set of characters and cast, the branches are important in this tree and they set out arguably one of the finest generic and timely film. It also is said to be funny.
But it isn’t funny in the sense that it makes you chuckle. It makes those characters happy and not us. We as an audience are told to be focused on entirely something else. Those sub texted narrative points is where The Farewell makes this emotionally simple and sweet departure so heavy. The Farewell also has this one fine quality that I miss these days. And that is that there is no way you can predict where this is all going. Leading towards. We are sort of like the Nai Nai character in the film. But then it doesn’t matter if the elders (the younger in the story and the makers outside the story) says to just tuck it in.