#Fruit Chan

[ceoul]

Made in Hong Kong (1999), dir. Fruit Chan

[texaschainsawmascara]

Dumplings

[n3kodorobo]

Dumplings (2004), dir. Fruit Chan

[itsmyfriendisaac]

Dumplings: an unhappy former actress hopes to recapture the attention of her adulterous husband by eating a mysterious dish rumored to stop the aging process. Aunt Mei's horrifying secret recipe rejuvenates Mrs. Li with unforeseen consequences!

[filmnita-applebum]

Hong Kong New Wave Films 💓💓

[fuckyeahlespleen]

made in hong kong (1997)

dir. fruit chan

[thatcinemascreencapguy]

Made in Hong Kong (1997) directed by Fruit Chan

[mater-argento]

[manitat]

2004: Dumplings

[bluen3hey]

1997  香港製造

Made in Hong Kong

[sookja]

Made in Hong Kong (1997) dir. Fruit Chan

[astolfocinema]

Made in Hong Kong (1997) ------------------------------ dir. Fruit Chan cin. O Sing-pui, Lam Wah-chuen cs. Hong Kong

[texaschainsawmascara]

Dumplings (2004)

[bimbomoviebash]

Made in Hong Kong, 1997

[apicturespeaks]

Made in Hong Kong, Fruit Chan

[sloshed-cinema]

Dumplings [餃子] (2004)

At what specific degree of dermal tautness does the patriarchal hegemony deem the face of a Woman of a Certain Age (read: anything over 24.5 years or something, I dunno) to be acceptable or even beautiful? The burden of beauty in the world of Dumplings and beyond falls on women. Nothing Mrs Li can do will draw the attention of her husband for more than a passing moment; he’s too busy fucking other, younger women. And yet she feels a nigh-addictive drive to pursue that standard which will maintain his attention. This fixation pushes her into the arms of a woman whose appearance belies her years, all thanks to one secret (doctors hate her!). Unlike other films of this stripe, the essential ingredient of Aunt Mei’s dumplings is revealed almost immediately. In not beating around the bush, the film both comments slyly on the One-child policy of Mainland China and draws sharp socio-political lines. Mrs Li is a victim of a sexist double-standard, but her position of wealth and privilege allows her to literally prey on those less fortunate. The teenager brought to Aunt Mei as a last resort dies as a direct result of her mother’s desperation, her father’s monstrosity, Mrs Li’s obsession, and Aunt Mei’s greed. An entire lower class family obliterated for a few moments of fishy beauty. Even beyond its concept, this is horror, after all, so the film leans into crunchy, amped-up Foley in all of the eating scenes, emphasizing the transgression.

If a mirror is a symbol of beauty associated with femininity, Dumplings makes a meal of the motif. Aunt Mei’s flat is littered with cameo mirrors, allowing for moments of doubling and self-reflection as Mrs Li hovers at the threshold of this path of transgression. After she makes her final commitment beyond the pale we see her in frame reflected with Aunt Mei, two women against the grain. At her nadir, Mrs Li is presented with another sort of reflection of herself, seeing a rebroadcast of herself as a young, blossoming television star just as she despairs at the side-effects of her latest treatment. In this moment, it’s possible to see someone as amoral but also to understand on some level why they’re doing what they do through the lens of horror. The final frames bring this arc to a poetic close, Mrs Li doubled by the blade of the cleaver she holds, ready to make the first cut of her next treatment.

THE RULES

SIP

Someone says 'dumpling'.

Anyone eats a dumpling.

Reflection in a wall mirror.

Amazing trouser prints.

BIG DRINK

The tiffin tin appears in a scene.

Aunt Mei wants to sing for someone.