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剧照
剧情介绍
The adventurous Lady Edwina Esketh travels to the princely state of Ranchipur in India with her husband, Lord Albert Esketh, who is there to purchase some of the Maharajah's horses. She's surprised to meet an old friend, Tom Ransome who came to Ranchipur seven years before to moxia.cc paint the Maharajah's portrait and just stayed on. Ransome has developed something of a reputation - for womanizing and drinking too much - but that's OK with Edwina who is bored and looking for fun. She soon meets the local doctor, the hard working and serious Major Rama Safti. He doesn't immediately respond to her advances but when the seasonal rains come, disaster strikes when a dam fails, flooding much of the countryside. Disease soon sets in and everyone, including Ransome and Edwina, work at a non-stop pace to save as many as possible. Safti deeply admires Edwina's sacrifice but fate intervenes.波士顿法律第一季魔法先生 第二季边缘世界 第一季生死狙击 第一季小年兽与捉妖师妖怪人贝姆BEM ～BECOME HUMAN～走私蓝天之火 下（国语版）黄炎培别想打扰我学习全能约翰逊兄弟第二季再战江湖2021粤语版横冲直撞好莱坞那一晚，我知道你做了什么聪明小空空家庭录像三目封神传相助深瞳蒙特卡罗不再沉默热血2022狂热这个王爷我想退货W-两个世界拥抱太阳的月亮未曾确认第二次机会：体操队之战逃之夭夭2005法语断了气绝世神皇最后一班犯罪心理捜査快乐星球第一部红莓飞侠小白龙（国语版）元宵节的结巨鳄2神秘博士：圣诞颂歌
长篇影评
1 ) [Film Review] Monsoon (2019) 6.5/10
Sophomore feature from Cambodian-born British filmmaker Hong Khaou, like LILTING (2014), MONSOON continues his interest in genderqueer characters, Henry Golding plays Kit, a 36-year-old British Vietnamese returns to his fatherland for the first time after 30 years, his family fled Vietnam (as the “boat refuge”) for fear of persecution during the civil unrest, and left Kit’s childhood friend, Lee’s family behind. Now bringing his parents’ ashes to rest, Kit tentatively starts to familiarize with the place, the country he barely recognizes, along with developing a romantic relationship with an American designer Lewis (Sawyers, who notably plays a young Barrack Obama in Richard Tanne’s SOUTHSIDE WITH YOU, 2016), whose father was a soldier in the Vietnam War.
Unable to speak his mother tongue, and the reunion with an adult Lee (Tran) never exceeds the formal propriety, and a mutual guardedness is palpable, Kit is stuck in a double consciousness because to Lee, he is a foreigner, a westerner; but to Lewis, his pigmentation denotes that he is still a Vietnamese. And their tentative discussion about the damned war proclaims that the scar is still in both psyches, albeit neither of them are actual participants.
MONSOON, for what it is worth, is a minimalistic cinematic prose about transiting, Kit is constantly seen on the move whether in Saigon or Hanoi (provenance of his parentage), by scooters or on a train, contemplating everything that flows in front of his eyes. In his drab service apartment, or a restaurant with a view, his eyes wander towards the landscape or cityscape, that he knows he must acculturate, yet there are missing pieces there, sustained by Golding’s faintly stressed aloofness and an innocuous air of ordinariness, the overwhelming sense of displacement gels mildly if none too spectacularly,
Also, Khaou’s introspective politesse, a style he masters more effectively in LILTING, manages to find extraordinaries among the pedestrian milieu, like the rigid opening God’s-eye view on the crisscrossing vehicles, or the lotus tea cottage industry, Khaou's nimble touches of beauty and transience are in bloom, but overall, the script is wafer-thin to undergird a feature-length project, as if MONSOON closes up shop right in the calmness before the storm, it flavor is too insipid to leave an indelible mark for aftertaste, and incidentally, casting two handsome heterosexual men to play gay lovers is almost regressive where out actors are thick on the ground whose career need a boost the most.
referential entries: Hong Khaou’s LILTING (2014, 7.0/10); Lucio Casto’s END OF CENTURY (2019, 7.8/10).
英国越南移民寻根顺便约炮记，套个“乡愁”的主题，可惜只是个空皮囊，一戳就破。
看《摘金奇缘》的时候对男主毫无感觉，没想到在这里留起胡渣，穿上灰扑扑土土的衣服，竟然十分可口，果然审美没救了哈哈哈。
许导演眼里的家乡似乎还没有我一个游客眼里浮光掠影的越南更“像”越南？男2号演员本人倒就是越战老兵之子。只觉得许导演并没有太多乡愁，那些回忆连闪回的镜头都没，那么最后移民回到原生国定居的理由就是为了爱情？说服力不够。
#32/LFF， 开场场景一下带进乱中有序的越南，有些笑点挺有趣的，只是好像过于温柔（文艺）了，没有冲劲，表演的痕迹稍重（不是说表演不好，主要是台词不太自然）。为各类片和各角色通吃的亨利加一星。
2019卡罗维发利主竞赛。风格倒是一如既往地用大量戏剧性寡淡的日常来堆叠情绪，不过比起前作起码有情感强度，这部简直是生搬硬凑，越战难民后裔回到越南在西贡正好约炮约到一个美国老兵后裔这种事……莲花茶那个桥段简直东方主义到好笑了。看下载声音还是有些意思（环境音的处理，片尾酒吧的处理）不过看评论好像影院版比较灾难？
沒有內心支持的表演，沒有內容支持的長鏡頭，都讓人昏昏欲睡，什麼鄉愁、什麼回憶、什麼同志愛情、什麼越戰傷痕，想說的話題有那麼多，卻沒有一個說清楚了，塞進越多話題反而越空乏無力。#TGHFF2019#
许泰丰的故事仍然是那么含蓄，又带着些“醉翁之意不在酒”的随性。越南的巨变和那些越来越远的分离史；被遗忘的一代和始终在外漂泊却断了根的“异乡人”；还有永远为游客亮起的灯光和无边夜色。它提供了同志故事之外更多深度的涉及，那就是一个人与过去，与这块区域，与朋友，与爱人，千丝万缕而又无从斩断的联系。这种丰富增加了“Kit”故事的意义，即便仍然在有限的片长和预算里显得仓促和窘迫。【这大概是Henry飞升之后唯一留下的“小片”了，竟然看得人格外珍惜。】
走走停停，寻根故里，打打野炮，忽然雨季。
不出彩，但不讨厌。
很适合西方对越南的幻想！
英國中年gay的無聊尋根約砲之旅
2.5星。越战难民后裔的寻根之旅，再增添一些同性元素的点缀。各色配角被牵强地贴上隐喻的标签，自然无法企及话题的深度。当作是越南风光休闲旅游宣传片来看，也还是有其可取之处。
流于表面的寻根之旅，许泰丰做了一个乡愁的花架子，轻轻一碰就倒了。我们看越南就像在看90年代的中国。
像是拍给西方人看的越南寻访纪录片，剧情弱到可以忽略不计，因为男主也不是很清楚自己要做些什么，有关越战、移民的探讨都仅止步于表面，整部电影就像白开水一样，但是这阴郁的氛围还是挺喜欢的，结尾窗外的雨声很舒服。
在越南看到了一种久违的宁静，我们会对一切（这种语境，彷如一切的“在异乡”）变化后社会的距离感到疏离，但又会被保有原生态的亲密感到轻松，寻找故土的味道与寻找情感的联系共同定义了个体与环境之间的“这么近，这么远”
在《摘金奇缘》《一个小忙》《去年圣诞》谈异性恋的亨利·戈尔丁顺道在《雨季来临前》谈下同性恋。
放进那个美国人虽说是有点刻意，但是片子手法上已经很好的了，没有很刻意的要把表达的内容硬塞到你面前的感觉，虽然这样就被人说剧情“白开水”了。本身就是感觉不知道在寻找的是什么，所以看着感觉有很多东西交织在一起的感觉很正常。当然故事本身也看的挺有共鸣是另一个喜欢的原因了。
越战老兵的后裔和越战流亡难民的后裔，相遇在经济蓬勃发展的新时期胡志明市。放进了很多话题元素，但就是不好看。#金马56#
偏生活化的、缓慢的、低成本文艺片。
#LFF2019 驚喜。Henry Golding用實力證明自己並非花瓶，孤獨的質感，是你不在意卻縈繞身邊，想起 Nobody's Watching 和 Her ，是人回到故鄉後發現自己和身邊經已面目全非毫無立足之地，聽不懂的語言，沒人再在意的老茶，錯配的手信，忘不了的戰爭過去，一切有如聽不見對方的視象通話。床戲點到即止卻又無比香艷，若論及以性去推動人物內心發展，開首的鬧市摩托航拍以及最後如的 Mogwai 配樂絕了。