Up-and-coming filmmaker Jon (Kenny Kwan) says he wants to make real films that address social issues within Hong Kong, but his old high school buddy, Wing (Adam Pak), calls him pretentious, while the two continue to lay into each other about their respective life choices, But as it turns out, that isn’t why they’re here. Wing has laid a trap for Jon and is hoping he can force him into telling him once and for all what really happened on the night of their high school graduation 15 years previously so he can capture it on the various cameras he has hidden around the apartment.
Of course, what we have here is an ironic comment on the notion of consent as Jon has no idea he is being filmed and would not have said what he said if he did. Still, the question remains what the impact of the tape, Jon’s own words condemning him, has on his later actions. Would he ever really have reckoned with himself if his confession remained private, or would he have gone on forgetting it, justifying himself, claiming that it wasn’t “rape” just “a bit rough” and everyone does things they’re not proud when they’re young and drunk?
On the other hand, what are Wing’s intentions? Does he really have the right to force the issue or is he merely poking his finger into someone else’s wound and potentially hurting them in the process. Admittedly an unreliable narrator, Wing tells us that his girlfriend Winky broke up with him because of his “violent tendencies,” yet it’s Jon, the respectable filmmaker in expensive shoes, who starts throwing punches and tries to strangle Wing while demanding that he give him the video in which he admits that what he did to Wing’s girlfriend Amy (Selena Lee) amounts to rape. Wing suggests that he’s sick of the hypocrisy and outraged on Amy’s behalf, but his actions are motivated more by jealousy and resentment that Jon slept with his former girlfriend than concern for her. He convinces himself that it must have been rape because otherwise he can’t understand why Amy would have slept with Jon when she refused to sleep with him the entire time they were dating.
To that extent, Amy becomes a kind of wager between the men. Wing invites her over to engineer a confrontation that is intended more as a provocation of Jon than it is a defence of his former girlfriend. Amy, however, immediately tries to turn the tables by rejecting the characterisation of events put forward by each of the men. Now a prosecutor who unlike Jon and Wing has remained in Hong Kong, Amy forensically questions Jon’s testimony and forces him to admit that he believes what happened between them was rape only for her to refuse his apology because she doesn’t agree. She refuses to be his victim, while he continues to dominate her by disregarding what she says and insisting that she’s in denial and “not in the right place” to hear his apology.
Later Amy says that back then Jon had his hand over her mouth, and it’s true enough that the men each attempt to prevent her speaking and are unwilling to accept what she has to say. As she tells them, an apology is about the person who issues it’s desire for permission to let themselves off the hook. To her it’s meaningless, while it’s almost certain that Jon would never have even given it if it weren’t for the tape which could ruin his career and his marriage. “You want the last word, but it’s not yours to have,” she pointedly tells him while he struggles to accept the lack of control he has over this situation and indeed over Amy. She tells him that she was in love with him at the time which gave him power over her which he misused when he had no real feelings for her and may have just been trying to get back at Wing, just as Wing’s weaponising of whatever happened that day is about his relationship with Jon rather than her pain or trauma. Though he tries to weasel his way out of it and is confused by the realisation, Wing is also bent on asserting patriarchal control over Amy in feeling entitled to her virginity and annoyed that Jon “took” it, even as Amy points out that in any case they were no longer dating at the time and it’s really none of his business who she sleeps with because it’s entirely her own decision.
But then again, she asks him if he’d marry a “rape victim”, and he doesn’t have an answer for her hinting at the societal stigmas in play along with her own desire not to see herself as one. Jon doesn’t want to see himself as a rapist either, continuing to insist that he’s a good person and, in any case, not the same as he was 15 years ago but now much more aware of women’s rights and position in society. Wing may just not want to see himself as a loser, aware that he’s living a life that looks unsuccessful as a lifeguard in Thailand making ends meet by peddling drugs to teenagers and trying to reclaim his masculinity by proving that Jon cheated him by assaulting Amy. Yet in updating Richard Linklater’s 2001 original, Tong really makes this about two tapes, the one from 15 years previously and the one Wing shoots in the present day which is immediately synced to the cloud. In revisiting the past, we gain a new perspective as the young Amy is given the opportunity to speak and unwittingly remarks on how she thinks of the past as something that can never really be destroyed but must dragged along in a box behind you that you occasionally peek into. Nevertheless, she may have succeeded in blowing it wide open in reclaiming her agency from the continually self-involved Jon and Wing.
Tape screened as part of this year’s Raindance Film Festival.
Trailer
Windows on Worlds 