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Lawrence Kwan Chun Kan (director), In Broad Daylight ็ฝๆฅไนไธ, 2023. 106 min.
In Broad Daylight combines two major news stories that expose abuses against the vulnerable: the elderly and people with intellectual disabilities. In many Asian societies like Hong Kong, there is a deliberate silence regarding these two communities, members of which have often been hidden away in nursing homes where their own caregiving and welfare are out of their control.
It is not an easy task to combine these abuse investigations into one film, but the writers of In Broad Daylight have made a suitable decision to put all vulnerable populations under the roof of one nursing home. The physical location of these characters in the nursing home also represents a divide between the filmโs first and second acts when the leading character Kay (Jennifer Yu) exposes the first case of elderly abuse to another. The transition between acts is heightened by a dialogue-free scene: from the bang of the door lock, the rushing steps to another rooftop, the clicking sounds of camera flashlight, the naked seniors are obscured from the camera with only exposing their forearms and thighs. The splash of water and the tightening gait belt disconcerts the audience ahead of the imminent scene of horrific abuse. The impression is so intense that, even having read about the news story in question and seen photos of it many times, the scene comes like a punch in the face.
Like many recent Hong Kong films, In Broad Daylightโs storytelling underlines the coincidence of forming a family not related by blood. Kay, the journalist, is estranged from her mother, but accidentally finds a family among the nursing homeโs residents. Kayโs gentleness beneath her strong-willed attitude is seen in the light of day when she takes Uncle Tong and Brother Shui out for a short road trip. Their adventure, warmed by the setting sun, includes a pit stop at Victoria Harbour where Uncle Tong tells Kay part of his life history. He puts his trust in his โgranddaughterโ Kay and thus she is no longer an outsider in the nursing home. As the plot envelopes, Kayโs determination to investigate has been shaped by the bond created between herself and the residents. While it sounds unethical for journalists to behave that way in reality, the filmโs portrayal of a forged connection between journalists and interviewees is a thin line that leaves us wondering: what drives us to strive for truth and justice? Is it because of the care and bond we share with others, despite knowing relatively little about one other?
Recent Hong Kong films by a younger generations of filmmakers have been critiqued for their tendency to social realism and almost documentary aesthetics. These criticisms might be valid in the sense that these social issues can be too narrow a genre for audiences outside of Hong Kong.ย However, we need to acknowledge that there is still a place for social issues in Hong Kong films and other Asian films too. There is a gap in mainstream cinema for films about family relationships and social issues, and it is interesting to see the clashes between traditional filial piety and social justice. There are plenty more stories to be told.
In Broad Daylight does not give us answers, which may leave some viewers with a feeling of powerlessness. Perhaps the questions it raises will always be with us, just as the events documented in the film will likely happen again. Kay and her fellow journalists do not have a clear answer either. Kay looks at the sky at the end of the film, an echo of the filmโs beginning. She is inviting heaven (a metaphor for the final judge) to be a solemn testimony to what and who are silenced.
How to cite:ย Tam, Tin Yuet. โNothing Under the Sun Is Truly New: Lawrence Kwan Chun Kanโsย In Broad Daylight.โย Cha: An Asian Literary Journal, 21 Mar. 2024,ย chajournal.blog/2024/03/21/broad-daylight.
Tin Yuet Tam is a Hongkonger who writes about arts and culture. She has written critiques on performing arts in Chinese, for example, her theatre critiques can be found in Hong Kong Repertory Theatreโs Repazine. She has also been writing poetry, reviews, interviews, and essays in English. Tin Yuetโs poetry has been featured in Canto Cutie and Voice & Verse Poetry Magazine. When she is not writing, you might find her strolling along the streets for hours just to immerse herself in cities. She currently resides in Toronto, Canada. Find her work on Instagram: @walk_talk_chalk