Wet Season (热带雨, Anthony Chen, 2019)

West season posterA middle-aged woman and teenage boy meet at opposite ends of loneliness only for their frustrated connection to end in a destructive act of misplaced desires in Anthony Chen’s acutely observed melodrama, Wet Season (热带雨, Rèdài Yù). Reuniting with Ilo Ilo’s Yeo Yann Yann and Koh Jia Ler, Chen spins a differing tale of fracturing families as his heroine, a perpetual outsider, finds escape in simulacrum but fails to realise the implications of her attempt to nurture a lonely child.

A Mandarin teacher at a local high school, Ling (Yeo Yann Yann) has been undergoing intensive IVF treatment with her emotionally distant husband, Andrew (Christopher Lee Meng Soon), for the last eight years. Repeated disappointments have placed a strain on their relationship and it seems to Ling that Andrew has already given up, rarely coming with her to the clinic and drawing away from her physically and emotionally. Though they have a housekeeper to help during the day, Ling is also the primary carer for Andrew’s bedridden father (Yang Shi Bin) who, despite his kindness and inability to communicate directly, displays only contempt for his son’s continuing moral cowardice.

Unappreciated at home, Ling fares little better in her professional life. It’s clear that no-one takes Chinese language terribly seriously as an academic subject and she remains isolated at school as a Malaysian Mandarin speaker in a largely Anglophone environment with a rather old-fashioned colonial perspective that English is the only useful language. She tries her best to teach her disinterested students, but finds them uncooperative save one young boy, Wei Lun (Koh Jia Ler), who develops a sudden interest in Chinese after imprinting on Ling when she offers to drive him home after running into him at the hospital and discovering no one was coming to fetch him.

Wei Lun’s parents are of the absentee kind, but apparently very keen that he do well in Chinese so he can eventually do business in China. The only student to turn up for remedial classes, Wei Lun starts getting a lot of individual attention, something that arouses the suspicion of a nosy neighbour in his apartment building who also happens to be a chemistry teacher at the school. The pair grow closer with Ling introducing him to her father-in-law who also takes to the boy, allowing him to fill a painful absence at the family table as the son and grandson they never had while he gains the loving attention of a devoted family ready to support him and celebrate his successes.

Yet brought together by shared loneliness, there’s an essential conflict in their differing desires as Ling remains, perhaps wilfully, oblivious to Wei Lun’s obvious crush which runs to something awkwardly maternal and deeper than your average teenage fixation on a sympathetic teacher. As the storms intensify, they seem set on a destructive collision course, approaching the same problem from opposite sides of an unbridgeable divide.

Battling her internalised sense of failure as a wife and mother in her inability to bear a child along with her professional irrelevance as a teacher of “unnecessary” Chinese, Ling finds validation in Wei Lun’s obvious need, allowing herself to feel “wanted” but perhaps misinterpreting that desire in Wei Lun’s adolescent confusion in which the familial and the romantic become hopelessly blurred. Momentary lapse aside, Ling remains essentially maternal, hoping to comfort Wei Lun as he endures his first heartbreak. “My heart hurts”, he tells her, “That’s how it is” she explains to him sadly, “you’ll get used it”.

Stormy weather and reports of civil unrest in Malaysia as an embittered populace rises up against state corruption echo Ling’s sense of anxious hopelessness as she attempts to find accommodation with life’s disappointments, her imploding marriage, and the impossibility of escape. For her at least the storm clouds eventually lift and the rainy season comes to an end giving way to a brighter future and a new start born of the total destruction of the old. Chen’s tale of misplaced desires and ill-defined relationships may be an overfamiliar one, but handled with care and universal empathy. Refusing judgment, Chen’s camera observes its fragile protagonists as they seek escape from their pain and loneliness through the illusion of connection while the storm inside intensifies. Having endured the rains, Ling rediscovers the light, claiming her right to happiness and leaving the wet season far behind.


Wet Season was screened as part of the 2019 BFI London Film Festival.

Original trailer (English subtitles)