Lulu Wang’s second feature is a brilliant insight into a millennial experience on being an immigrant in America and the struggle for identity. Following Chinese-American millennial Billi (Awkwafina), The Farewell travels from America to China as Billi’s Grandma, Nai Nai (Zhao Shu-zhen), falls ill with terminal cancer. What throws an even heavier spanner in the works is Billie’s family’s decision to not disclose the full extent of the cancer to Nai Nai leaving Billi torn between what she believes to be right and the traditions of her Chinese family. The family organises a quick wedding for one of Billi’s cousins so everyone can see Nai Nai one last time before she dies. A semi-autobiographical film based on Wang’s own experiences, it is a deeply personal film that flits flawlessly between drama and comedy in a way that feels authentic. The majority of the film is in Chinese with the American family integrating English into conversations, particularly if it involves Nai Nai. A critical and commercial success on release, it was a familiar face at awards season but controversy turned its nasty head when it was wrongly snubbed at the Oscars in all categories.
Awkwafina has slowly become one of my favourite rising stars after her great supporting turn in Ocean’s 8. Tuning into what is clearly her signature dry humour, Awkwafina’s Billi is a young woman dealing with an internal identity crisis as her American state of mind cannot comprehend the Chinese tradition of not telling a sick person about their condition. Billi’s sensitive and outspoken traits are deemed “American” and she is both mocked and chastised for it. The performance garnered Awkwafina her first Golden Globe for Best Actress in a Comedy or Musical and I am sure it won’t be her last. She was sadly omitted from the Academy Award nomination in a snub that was swirling in controversy but her time will come. It’s insane to think that this was her first leading performance in a feature film because it’s a turn that most people can only dream of achieving. Billi’s story arc is one of emotional growth. She doesn’t have all the answers but she doesn’t need to have them at the moment.
In support we have Zhao Shu-zhen turning in a fantastic performance as the resilient Nai Nai. Always putting Billi in check and making sure everyone is well fed, Nai Nai is a character of strength and Shu-zhen plays her perfectly. The dynamic Shu-zhen and Awkwafina have onscreen is brilliant and their relationship seems real to the point where it sometimes feels like you are watching a documentary. There is no reason whatsoever as to why Shu-zhen was not nominated for her Supporting role at the major award shows. Even when she is not onscreen, the audience is constantly thinking about Nai Nai and waiting for her next scene. Nai Nai has to reintroduce Billi to her Chinese heritage and does it in a way where she too becomes accustomed to Billi’s sensitivity.
There are so many scenes that can be discussed but in particular, the scene when Nai Nai is in hospital and Billi asks the doctor in English for the truth because she knows only her and her parents will understand. Not only is it a punch in the gut on the delivery of the doctor’s news but is also balanced out by Nai Nai’s attempt to set up Billi and the doctor. Despite the scene mixing Chinese and English, it never feels as though the flow and pacing is stilted. This scene is just one of many examples of Wang’s brilliant writing. In terms of her direction, the scene in which Billi runs from the wedding to collect Nai Nai’s test results from the hospital is one of huge significance. Storywise, this is the scene in which we see Billi accepting the traditions and actively following the plan to hide the condition from Nai Nai. As Billi runs a long stretch from the wedding to the hospital, the camera simply follows her in minimal takes. It is a brilliant sequence as we begin to see the desperation that Billi is feeling. These two scenes are so significant as one shows Billi’s reluctance to conform to the traditions to her embracing them and understanding.
Lulu Wang has established herself as a brilliant filmmaker with a strong vision and sharp writing. It is hard to believe that this is only her second feature film after 2014’s Posthumous. After the enormous success of Jon M. Chu’s 2018’s blockbuster Crazy Rich Asians (which also featured Awkwafina), there is clear proof that people want to see films starring and created by people of colour and minorities in an industry dominated and ran by white people. This is also what makes The Farewell so important as it is a deeply personal story but one that resonates with the audience. It would be great to see Wang collaborate with Awkwafina again as she managed to draw that dramatic side out in a way that is so rare and brilliant for comedic actresses. It’s only a matter of time before we see Wang’s name among the nominees on the major awards circuit.
What did you think of The Farewell? Let me know in the comments
For the score, Ramsay recruits Jonny Greenwood for the second time after her 2011 film We Need to Talk About Kevin. Like Joe’s character, the score flits between intense pieces with a strong and consistent beat which are usually played when he is on the job and more natural and flowing pieces which provide a backing track for scenes with Nina and his mother. The track, “Tree Strings”, which is played as Joe buries his mother is such a poignant moment and the music elevates the scene by assisting in his ephiphany to rescue Nina from her kidnappers. Greenwood is more widely known for his collaborations with Paul Thomas Anderson but his scores for both We Need to Talk About Kevin and You Were Never Really Here assist in elevating and excuting Ramsay’s vision to perfection.
Performance-wise, the cast is really strong, particularly from Rhys and Hanks. Rhys brings out the protagonist’s inner conflict where the hurt that he feels is overshadowed by the anger. In fact, it seems that Vogel is more of an antagonist in the first act but as he lowers his guard, we begin to understand why he is how he is. It is ultimately a film about forgiveness and acceptance and no revelation is more important than the moment when Vogel accepts himself and his situation. The moment when he confronts his mum is heartbreaking and provides a bittersweet release for him as he allows himself to move forward with his life and enjoy the life that he has. I think that Rhys provides a side of his acting that we have not seen before and although Hanks is undoubtedly the highlight of the film, I think that Rhys will only get better from now on and has managed to successfully break into mainstream films.
I wasn’t expecting to love A Beautiful Day in the Neighborhood as much as I did as I thought it was going to be run-off-the-mill Oscar bait but I left the cinema feeling a mix of emotions. It was funny, dramatic, heartbreaking and hopeful all rolled into one. Despite being set in the 90s and reminiscent and nostalgic for the 70s, A Beautiful Day in the Neighborhood feels fresh and seems to be a new kind of family film. It isn’t afraid of delving into dark topics while remaining appropriate and light at the same time. It stayed with me long after the credits rolled and is among my favourites of awards season. It is a shame that the film didn’t garner more than its single Oscar nomination because Heller’s direction and Nate Heller’s score are brilliant and deserved the recognition. 
