Horrible Imaginings 2020: REPOSSESSION Review – Masterful, Divisive Asian Horror
Starring Gerald Chew, Amy Cheng, and Sivakumar Palakrishnan
Written by Ming Siu Goh, Scott C. Hillyard
Directed by Ming Siu Goh, Scott C. Hillyard
Though perhaps a bit later than we would have hoped, our Horrible Imaginings 2020 coverage hereby continues, and after the troubled living arrangements seen in Darkness in Tenement 45, we move to Singapore. Taking place in the high-stakes, high-stress world of upper-middle-class Southeast Asia, Repossession masterfully explores the overwhelming pressure to uphold appearances, the complex dynamics of Asian family life and the universal themes of loss and regret.
Jim (portrayed by Gerald Chew, of 2025 and Marco Polo fame) is a 50-year-old businessman who seems to have the perfect life: beautiful wife, smart daughter, a luxurious apartment and an Audi in his garage. It quickly goes wrong, however, after Jim is fired from his high-salary job. This single event acts as a catalyst for a seemingly never-ending series of misfortunes, aided and abaited by Jim’s own bad decision-making.
Though I would prefer to stay away from spoilers, we must discuss Jim’s folies, as they are the canvas upon which the layered exploration of Asian culture is painted.
During the Q-and-A session with the filmmakers, Repossession‘s themes of financial distress and the devastation of sudden unemployment rang too true for some: we had audience members leave the screening, because they felt too emotional about Jim’s plight. And though it is true that we may all relate to it to some degree, what I like most about Repossession is its ability to tell its relatable story with the added depth of Singaporean society as the context.
You see, Singapore is one of the most important business hubs in Asia. The inhabitants of this island are subject not only to the conventions of honor and family that have reigned in China, Japan and other superpowers for millennia, but also to the high-stakes consumerism that comes with Westernization. Writer-directors Goh Ming Siu and Scott Hillyard were deliberate in their choices to, for example, have the characters speak mostly English, as it is the language of the upper-class business types who are the focus of the story. At the same time, however, some interactions (particularly those concerning folk legends and intra-family discussions) are conducted in Asian languages and dialects, further illustrating the dichotomy under which the people of Singapore live.
Repossession, then, requires not only its brilliant writing, but also a cast who is up to the task of delivering the heart-warming, and often frustrating, actions of its characters. I’m happy to report that said cast is here in spades. Joining the aforementioned Gerald Chew are Amy J. Cheng (Crazy Rich Asians, Growing Up, 20 Days) as Jim’s wife Linda, and Rachel Wan (Kin, The Wedding Survival Notebook) as Ashley, Jim’s daughter.
It comes to no surprise to me that Cheng has won the Best Actress in a Feature Film award at the Horrible Imaginings 2020 festival: her performance as the caring, dutiful wife adds to the heartbreak and makes you fall in love with what could-have-been and was. Rachel Wan’s equally masterful delivery, in particular within scenes where her interactions with Chew’s character are inherently awkward, won me over time and time again. The supporting cast is just as strong, and to be fair to them all, I could not pinpoint a single underperforming actor for the duration of this tape.
The technical side of the equation is just as proficient: from pre-production consultations with an exorcist priest, to Soviet-era inspired cinematography, to the immersive (and award-winning) sound design, Repossession looks and sounds like top-notch cinema. And it should come as no surprise: though this is Goh and Hillyard’s debut feature film, both have been working in Singapore’s media industry for over a decade and a half, and it shows. All involved can proudly call Repossession the crowning achievements in their careers so far.
As ever, though, beauty is in the eye of the beholder, and this film may have a tiny bit of room for detractors. The creators are well aware of this, as through their festival circuit journey they have found reception to be divided, and often heated. Be it the themes (which resonate perhaps a bit too strongly in our 2020, post-COVID reality), or the different approach to portraying demonic possession, or the pace, Repossession isn’t vanilla ice cream. It’s not for everyone. I personally feel that its uniqueness set it apart from the pack and provide a particular cinematic experience which is difficult to find anywhere else. Sadly, it is this same uniqueness that will perhaps limit the film’s appeal to a broader general audience.
Discussions of niches aside, I could probably continue singing the movie’s praises for some time. I wish I could go into more detail about the plot, as I found some real nuggets of personal connection in its treatment of father-offspring relationships, as well as life-long friendships. But I prefer to leave some room for viewer exploration. I tend to stray from spoiler-ridden, opinionated reviews, focusing instead on giving enough information to hopefully help the audience make a decision for themselves.
As such, I’ll leave you with these parting words: if you’re looking for easily-digestable horror where societal commentary and cultural context are absent, Repossession isn’t what you’re after. This is a film that demands of its audience a level of attention, interest and knowledge that will perhaps make some become uninterested or outright angered. If you are willing to put in the homework, however, I can assure you that you will be hard put to find a more competent treatment of these themes within the context of Asian culture in horror cinema.
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REPOSSESSION
Summary
Repossession is a surefire hit for those willing to put in the work. Uninterested audiences need not apply.
