09 20 Oct '24

Young Critics Review: Are You Lonesome Tonight?

Are You Lonesome Tonight still
Review 21 Oct 2022
During the Young Critics Workshop (in collaboration with Cinea and the online film magazine photogénie) at Film Fest Gent, five aspiring film critics (ages between 18 and 26) from Belgium and from abroad write reviews and essays on our festival films.

Are You Lonesome Tonight?

Two things are to be taken from Wen Shipei’s Are You Lonesome Tonight? One, following an unexciting role in Ann Hui’s Love After Love, there may be, after all, some potential for Taiwanese blockbuster superstar Eddie Peng as an arthouse actor, here delivering a phlegmatic performance, oddly, but perhaps not accidentally reminiscent of Chang Chen, as a guilt-ridden repairman trying to approach the wife (played by none other than Sylvia Chang) of a man he seemingly runs over.

"Are You Lonesome Tonight ultimately gives the feeling of a clutter of references and emulations that seek out only empty aesthetic value."

Two, which we already knew, there’s never going to be a film making reference to the Elvis Presley song that could ever come close to the sensibility of Edward Yang’s A Brighter Summer Day. Wen’s neo-noir pays homage to Yang’s film by playing the song in copycat, pink-tinted shots that recreate the iconic band scenes yet fails to understand its significance in context as a commentary on Western influence on the youth culture of 50s and 60s’ Taiwan. Are You Lonesome Tonight? has some merit in mixing the rain and torpid heat of its mainland Chinese summers so as to induce a slow, almost inert rhythm that calls to mind other New Taiwanese Wave directors, but ultimately gives the feeling of a clutter of references and emulations that seek out only empty aesthetic value.

Despite being surprisingly articulate for a debut in its depiction of mnemonic processes that revisit in disjunct and fragmented flashbacks a crime that may or may not have been committed,Are You Lonesome Tonight? sabotages itself when, around halfway, it decides to abruptly turn into a gunplay thriller about police conspiracies that’s hard to distinguish from any other contemporary Chinese super-production.


Kenny Nixon

I’m a New York born, Chicago based studio cameraperson for Bally Sports/Stadium, who turns to criticism and film writing as a respite from work’s drudgery. I graduated from Northwestern University in 2021 with a degree in Film Production, with notable accomplishments including a B- for a paper on In a Lonely Place for being “too enthusiastic about Nicholas Ray”. I find strength in the films of John Ford and Maurice Pialat, as well as in his fandom of the New York Knicks.

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