THREE HUSBANDS - EXCLUSIVE SCREENING

Details

Cast: Chloe Maayan, Chan Charm-man
Director: Fruit Chan
Genre: Drama
Running Time: 101 mins
Language: Cantonese
Rating: R21

Synopsis:

[Part of the Contemporary Asian Cinema Series co-organized by Filmgarde and the Singapore Film Society]
A wondrous prostitute plies her trade while living on a boat in Hong Kong. With a superhuman libido and three loving husbands, she doggedly devotes herself to her work. Using sex to satirize the era, this film brims with intense desire.

Reviews

"Though primarily concerned with pushing things to the limit, the screenplay by Chan and Lam Kee To is not without moments of poignancy and poetry. A subplot involving Four Eyes and bar hostess Sau Ming (Larine Tang) puts a realistic human face to the financial and emotional relationship between Hong Kong and China. In the film’s closing sequences, color slowly drains from the frame, and beautifully composed monochrome images appear like postcards of a bygone era. The uncertain road toward 2047 comes sharply into focus with a small but significant splash of color in the final scene filmed near the new mega-bridge connecting Hong Kong with China."

- Richard Kuipers, Variety 

"Three Husbands is arguably Chan’s most visually symbolic film to date, loaded as it is with indigenous mythology (Mui might also be a mermaid-esque dolphin creature) and varying tones. Cinematographer Chan Ka-shun’s steady, unfussy camera leaves room for Maayan — who is remarkable, even without dialogue in a recognizable language — to do the heavy lifting, drawing attention to itself only when it must, most markedly in the closing moments with Mui and her three husbands on the open sea."

- Elizabeth Kerr, The Hollywood Reporter 

"The visual has a rough, indie feel to it and the trademark poetic eye of the director. Some scenes – beside the odd-sex ones – are quite unforgettable. Beautiful and iconic snaps like a sex scene in a track full of plastic balls, Mui diving in a goldfish tank, Mui trapped in a fishnet like an agonising animal. Towards the end of the final chapter, the colours drain out of the film and slowly, without realising, the film is completely de-saturated. Everything is colourless, except a bright red flag draped around Mui, a disgraced figurehead on a vessel heading towards nothingness."

- Adriana Rosati, Asian Movie Pulse

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