Sunshine of My Life (一路瞳行, Judy Chu, 2022)

A young woman comes to a better understanding of her family and her relationship with it after a series of crises some more serious than others in Judy Chu’s semi-autobiographical drama, Sunshine of My Life (一路瞳行). More a coming-of-age tale than an exploration of the difficulties faced by those with disabilities in the recent past, Chu’s heartfelt film nevertheless stresses familial solidarity as the heroine comes to realise that her misplaced resentment is mostly teenage angst and that at the end of the day her parents just want her to be happy.

Yan (Karena Ng) was born to two parents who are each blind. A perfectly ordinary though dangerous accident that could easily happen to a sighted mother leaves a toddler Yan scalded and unkind relatives questioning the couple’s decision to have a child at all implying it is somehow irresponsible and that they are incapable of caring for her. Nevertheless, Yan’s mother Hung (Kara Wai) resolves to do everything she can to keep her daughter safe beginning with attaching bells to her so she has a better idea of where she is and what she’s doing at all times. This early incident does in one sense colour Hung’s parenting style, constantly questioning herself as to whether she’s a good mother and preoccupied with the judgement of others all of which later feeds into her teenage daughter’s resentment as the older Yan grows tired of feeling responsible for her parents’ care. 

As a child, Yan had helped her parents by reading out menus and describing the world she sees around her but as a high school student she resents having to rush home after school rather than hanging out with her friends and also seems to be ashamed of her parents’ disability never telling anyone about her family and instead claiming that her mother is ill in hospital. She tells her art teacher that she just wants to get out of Hong Kong and doesn’t care where she goes so long as it’s far away while later telling her no good rich kid boyfriend that she’s searching for “freedom”. On one level she feels intense guilt for leaving her parents behind as if she were abandoning them, worried that they really can’t manage without her, but also fears for her own future and feels trapped as if she’s being asked to sacrifice her own hopes and dreams to stay by her parents’ side forever.  

Yan is indeed a teenage girl and has a slightly self-centred way of looking at things, never quite stopping to appreciate how difficult her parents lives can be in a conservative society that is often unwilling to accommodate difference. When her classmates all mock and jeer at a poster advertising a star gazing event for the blind all she can do is smile politely, and at one point she even walks straight past Hung waiting for her outside the school gates perhaps on one level simply embarrassed to have her mother meet her as any teenage girl might be but also anxious to hide her existence from her boyfriend. After being arrested by the police for illegal street selling, Yan’s father Keung (Hugo Ng) gets a job as a masseuse but is later exploited by his employer who tries to force him to sign a new contract accepting a 20% pay cut while increasing the manager’s commission. Keung refuses and is fired but vows to fight for the other workers to end discrimination against the blind and ensure they enjoy the same labour rights as sighted workers. 

Faced with a series of crises from a brush with criminality to her boyfriend’s sudden absence and her father’s failing health, Yan is forced to reconsider her relationship with her parents. On witnessing Hung stand up for herself and take her father’s corner Yan realises that she might have underestimated her mother’s capability and what she took for dependency was more a general sense of warmth in receiving care that made her life easier. Tinged with ’90s nostalgia from the ubiquitous cassette tapes Hung uses to record precious moments to pagers and pinups, Chu’s warmhearted drama finds a mother and daughter coming to a better understanding of each other as they both learn to embrace independence and freedom if in a slightly different way than originally anticipated.


Sunshine of My Life screened as part of this year’s Five Flavours Film Festival and is available to stream in Poland until 4th December.

Original trailer (Traditional Chinese / English subtitles)

Blind Beast (盲獣, Yasuzo Masumura, 1969)

81dGenRMu-L._SL1500_Never one to take his foot off the accelerator, Yazuso Masumura hurtles headlong into the realms of surreal horror with 1969’s Blind Beast (盲獣, Moju). Based on a 1930s serialised novel by Japan’s master of eerie horror, Edogawa Rampo, the film has much more in common with the wilfully overwrought, post gothic European arthouse “horror” movies of period than with the Japanese. Dark, surreal and disturbing, Blind Beast is ultimately much more than the sum of its parts.

This dark tale is narrated by its “victim” Aki, a photographer’s model and the subject of a currently running exhibition. On paying a visit to the show herself, she finds a strange man caressing a statue of her built by one of the photographer’s students. Somewhat uncomfortable, she leaves the gallery in hurry and once home calls up a massage company help her relax. Once her masseuse arrives, he proceeds to caress her in a strange manner despite Aki’s protestations that she needs it “harder”. Eventually the ruse is uncovered and Aki realises he’s the blind man from the gallery at which point he chloroforms her and drags her back to his evil lair and mysterious studio in the middle of nowhere where he lives with his accommodating mother. The pair keep Aki prisoner until she consents to modelling for blind artist Michio’s latest sculpture project. After trying and failing to escape, Aki gradually falls into a kind of Stockholm syndrome where she finds herself in thrall to Michio and the pair’s sexual adventure enters a path towards the ultimate debasement and depravity…

The opening sequence of Blind Beast is the most surreal in this eerie, bizarre film. As Aki awakens in Michio’s lair she explores her darkened environment only to find the walls are each covered in sculptured motifs of various women’s body parts. First an entire wall of noses followed by mouths, arms, legs and breasts each apparently created from memory by the aspiring sculptor who, in his blindness, has decided that touch is the ultimate, neglected sensation. If that weren’t strange enough, the floor of the studio is taken up by a colossal statue of a woman lying on her back, as Aki finds out trying to escape the room by crawling over its perfectly sculpted breasts.

Micho himself is an unsettling though somewhat weakened figure, supported still by his caring mother who is prepared to do “anything” to indulge his “one pleasure in life”. Neither of the pair seems to appreciate the perfectly natural reaction of Aki to being held prisoner or her desire to escape and both are entirely focussed on making use of her in Michio’s new artistic movement which will place touch at the forefront of expression. Aki attempts to manipulate the situation in order to escape, firstly pretending to go along with their plans and then by attempting to place a wedge between Michio and his mother by emphasising Michio’s lack of autonomy and particularly his lack of sexual experience. Eventually she seduces him as a way of building his trust so he’ll let his guard down. However, after an event most would regard as traumatic, she comes to build a grudging affection for the blind sculptor and no longer wishes to leave.

Losing her sight herself, Aki grows ever more obsessed with the sculptor’s touch. As the pair’s relationship becomes increasingly intense they seek out even more vibrant sensations, new paths to ecstasy. Turning to sado masochism firstly through animalistic biting, clawing, and tearing they eventually resort to whips and knives before coming to a conclusion about where their new life of dissipation is leading them. Aki wonders if she had masochistic tendencies all along which the sculptor has “unlocked” with his magic touch.

Literally blinded, the two have entered a realm of sensations which are purely physical. Sexually naive, Michio has mentally dismembered the concept “woman” into a series of neatly separated components which can be assembled to form the physical shape without needing to think about anything which lies beyond the skin. Blind Beast is a romance, in some sense, even if an extremely disturbing one. Michio and Aki don’t fall in love in the conventional sense so much as become obsessed with the physical sensation of mutual touch. Pain and pleasure become interchangeable as the pair’s desire for physical satisfaction exceeds all limits.

Strange and surreal, Blind Beast carries one of the most disturbing final sequences ever committed to celluloid. With its European chamber music soundtrack it feels much more like an arty ‘60s giallo than anything else though in terms of what is actually visible on the screen is actually fairly light on gore or violence. This level of restraint only makes the film more disturbing as does its claustrophobic atmosphere and deadpan voice over. Another characteristically probing effort from Masumura, Blind Beast is among his strangest and most original efforts and is likely to linger in the memory long after its traumatic finale fades from the screen.


Blind Beast is available with English subtitles on R2 DVD from Yume Pictures.