We Are All Strangers

Anthony Chen’s We Are All Strangers (Wo Men Bu Shi Mo Sheng Ren) emerges as a masterful and profoundly moving conclusion to his acclaimed Growing Up trilogy, establishing itself as a serious contender for the Golden Bear at the Berlinale. As the first film from Singapore to compete in the festival’s main section, it arrives with a warmth and emotional generosity that leaves a deep impact, offering a welcome contrast to more austere festival fare.

The feature delves into the lives of a fragmented yet ultimately compassionate working-class family in Singapore. It skillfully portrays the intricate dynamics between Boon Kiat (Andi Lim), a hardworking noodle stall owner, and his rudderless 21-year-old son Junyang (Koh Jia Ler). Their individual journeys intertwine with new relationships – Boon Kiat’s tentative romance with the spirited Bee Hwa (Yeo Yann Yann) and Junyang’s complex relationship with Lydia (Regene Lim). This creates a fragile and imperfect family ecosystem, deftly exploring universal themes of love, responsibility, and the subtle yet pervasive class divisions within contemporary Singaporean society. Chen navigates these emotional conflicts with surgical delicacy, ensuring the narrative never veers into caricature.

Chen’s direction showcases an unflashy elegance, employing a limpid naturalism that allows the movie’s honest emotions to shine through, sidestepping potential clichés. The extensive runtime is an investment generously repaid, drawing viewers into a sweeping and tumultuous narrative. The performances are captivating across the board. Yeo Yann Yann, a Chen regular, delivers a wonderfully layered portrayal of Bee Hwa, embodying the film’s heart with her vibrant energy and underlying desperation. Koh Jia Ler, who has grown with the director and the trilogy, captures Junyang’s journey from youthful naivety to a more grounded understanding of life with striking authenticity. Andi Lim’s gentle turn as Boon Kiat, coupled with Teoh Gay Hian’s refreshingly well-lit cinematography, creates a compelling sense of place and intimacy.

We Are All Strangers is a testament to Chen’s maturity as a filmmaker. It’s a consistently involving and ultimately moving work that finds beauty and poetry in the everyday struggles and triumphs of its characters. By embracing sincerity even in its most melodramatic moments, the film offers a powerful study of love in all its forms, making it a truly unforgettable cinematic experience and a deserving frontrunner for the festival’s top prize.