NO TRAILER CURRENTLY AVAILABLE
First, the Recap:
Passing into eternity. The actuality of acknowledging we are mortal is along an often unnerving, daunting, and undeniably haunting consideration to ponder for most. We embrace being vibrantly alive, clinging to it, and ideally attempting to exist in the best ways possible, that we might ultimately leave a legacy behind when the inevitable comes. Yet, in our OWN considerations about it, do we ever truly think about how it has affected others when it isn’t their own being that’s in question, but rather that of someone else they love and are missing? In central China, Yan (Harmonie He) ekes out a meager existence by the harbor. When a totally unforeseen encounter comes about with an older boatman, Old Bo (Jizhong Zhang), who has a highly peculiar and wholly unsettling “career” to make his ends meet, their mismatched bond becomes a sobering and cathartic journey into what they both are striving to embrace anew again–LIFE.
Next, my Mind:
Painting a picture of both the unsettling but inevitable impact of uncertainty and passing paired with the utter necessity of human contact and interaction, this 16-minute short film effort from writer/director Jean Liu, producer Sarah Hyunji Park, and executive producers Constanza Castro, Domenica Castro, Naomi Funabashi, Travis Ing, Rishi Rajani, and Lena Waithe carries its darker, highly unorthodox story with poise and purpose in a manner that will truly jar yet inspire you in a manner that pays homage to our human condition, the seeking of answers combined with closure, and the simple but profound importance OF human connection and equally imperative remembrance, if not for ourselves, then for the benefit of others. The film will have its opportunity to influence audiences via screening as an official selection of the 20th Anniversary HollyShorts Film Festival running August 8th-18th at the renowned TCL Chinese Theater, Los Angeles. If THIS film isn’t a brightly shining exemplification of the very CORE that IS indie filmmaking, I’m really not sure what would be. Bold, provocative, fearless continue to be the standard, satisfyingly so.
As another entry brought to bear by the undeniably steadfast quality that comes courtesy of Indeed‘s “Rising Voices” initiative, this unavoidably unconventional narrative which sees a young girl searching for her missing father that brings her into contact with a old boatman whose literal self-made business it is to FIND those lost and bring them back to their loved ones, what this critic feels is most surprising here amidst the generally macabre nature of the events themselves is the expanse of genuine, heartfelt, wholly applicable, engaging elements of foundational existence and relational impact of being in one another’s circle for both companionship and trust presented here while at the same time still managing to address death in an also incontrovertibly affecting manner. Yes, it’s got that underlying sense of unnerving eeriness to it on certain levels, but again, what COULD have been a REAL exercise in nothing BUT shock value turns INTO this beautifully written, still-potent, fully relatable journey involving loss, loneliness, finding purpose, and inward healing that we can ALL learn something from.
Another facet of the film, which again is a statement of affirmation for the writing and direction of it, that I relished was the fact there are components of dark humor intertwining with the more serious notes, and I assuredly was NOT expecting to be smirking at anything given the grander state of events depicted. But this IS the GENIUS behind it with these “lighter” moments even existing here, a creative touch that DOES mesh together adeptly with the rest of the narrative. The thematic paths we’re digging into here encompass, as initially indicated already above, the unmitigated need for having contact with other people, the associated and mutually beneficial essence that can bring to shared circumstances, working at something after seeing a need or demand for it, even if it isn’t in itself something we’d PREFER to be doing, our perceptions and judgements about other people, how we tend to take out our own desire for injustice to be confronted on innocent “targets” rather than just face the struggle we need to, and sometimes recognizing the baseline value of seeing the world as it is but moving forward, together if at all possible.
I felt all of this was seen throughout the unfolding tale we’re viewing, and again, it ends up carrying a weight of message that has such meaning and intent, making the film’s finale one to remember for what it signifies for the characters, their established convictions and hope, and ultimately yearning to make a mark, somehow, for the better if they can, regardless of how others might condemn the means by which they do. Like I needed to add ANOTHER to the ever-expanding list of certifiably excellent child actors—but I do! He totally captures you, maintains your attention, makes you feel the sense of both empathy for her but also cheer on her evident spunk and inner strength as illustrated through this role as Yan, a young girl fighting to make a life from the meager means she does by selling items (and karaoke songs!) at the local harbor. Clearly on her own with no immediate indication of whether her parents are or are not in the picture, Yan ends up meeting a man whose occupation is nothing less than abhorrent to most, alienating at minimum, yet serving an undeniable purpose.
As Yan becomes his shipmate based on a given arrangement they strike, she suddenly grasps what he is, why he does what he does, and how the solitude and disdain he gets for it has taken a toll. With mutual inward battles exposed, the pair form an unexpected friendship that could change both of their worlds. It’s a one hundred percent authentic performance He provides, and I challenge anyone NOT to be drawn in by the young actress’ charm, wit, and endearing willfulness. Zhang makes his own definitive mark on this story, creating a character that you might not at first know HOW to accept or perceive, but then wins you over once things are fleshed out more thanks to his role as Old Bo, an man stained by both his job choice and the consequent, mainly unkind impressions of him the world has assigned. When he’s suddenly faced with a young girl who seems more curious about his profession rather than immediately repulsed, their joined life journeys of loss meld together even as he makes a deal with her to try and resolve her loss in return for long-missed camaraderie.
The affinity they form is innocent, freeing, and even fully therapeutic, though as Bo goes about his chosen work which carries both financial gain but also at times ardent and volatile interactions with his customers, whether he wishes to allow Yan to REALLY be a part of his realm or believe there are better things for her to seek out will remain as the open inquiry in their adventures, and Zhang understatedly but with conspicuous emotional strength guides the character through it all with wonderful control and believable affability. Additional supporting turns arrive through Yan Xi, Jeff Chen, Wayne Chang, Sydney Wen, Lena Shi, Vilion Fok, Junu, Sang Won Rhee, and Frannie Maas. So, in total, “Corpse Fishing” more than ascends above its disquieting title and baseline premise to deliver an unanticipated gem of a film that chooses to embrace our humanity from ground level, unafraid to showcase life AND death from the perspective of a marginalized community in order to allow the true beauty OF who we CAN be to burst forth through one of the most creatively eccentric directions for a narrative we could imagine. Period.
STAR RATING (out of 5):
As always, this is all for your consideration and comment. Until next time, thank you for reading!
