Displacement, grief, the generation gap and gay relationships characterized by cultural difference — Cambodian-British filmmaker Hong Khaou’s second film swims in similar thematic waters to h…
’s second film swims in similar thematic waters to his acclaimed first, “Lilting.” But while “Monsoon” broaches these subjects with Khaou’s already trademark, borderline tremulous sensitivity, it comes from the opposite direction, tracking the hesitant attempts of a Vietnamese-born Englishman to find some slender connection to his birth nation, following the death of his mother.
Kit’s psychological separation from the hubbub that surrounds him is literalized throughout by Benjamin Kračun’s elegant camerawork, which often frames Golding’s handsome, thoughtful face through windows, with a spray of reflected lights giving us an impression of the outside world, but also Kit’s isolation from it. At other times, the image is itself a reflection, as revealed when the camera pulls wide to show us that the action has been playing out in a mirror, a subtly disorienting axis-flip.
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