Tag Archives: Mongrel

Edinburgh International Film Festival – Mongrel

Posted on by

Edinburgh International Film Festival 2024 – Mongrel
Directed by Wei Liang Chiang and You Qiao Yin,
Starring Atchara Suwan, Hong Yu-hong, Kuo Shu-wei, Lu Yi-ching, Wanlop Rungkumjad

This Taiwanese film arrives at the Edinburgh festival hot from the prestigious Director’s Fortnight at Cannes. Mongrel explores a subject which may be set in Taiwan, but sadly covers a subject which is all too common all around the globe: the trafficking and exploitation of undocumented migrant workers. In this case the gangmasters are in the mountain areas of the country, and using their workers (more like serfs) as care-givers for families who need them, but perhaps can’t afford the official care services, so this black market operation steps in to fill a need (for a price).

As we first meet the group, they are angry at their boss, justifiably so, because they have been working hard for him for two months and seen not a single penny of the money they desperately need to earn to send back home to their families abroad. When not working illegally (and mostly unpaid) they are kept in a secure compound, the euphemistically titled “dormitory”. Being undocumented workers, they have nobody to appeal to for help – employment or safety legislation simply doesn’t cover them, and regardless, even if it did, they dare not go to anyone in authority, because they would be arrested and deported.

It’s a wretched, desperate situation of exploitation, and yet Oom (Wanlop Rungkumjad), although obviously not happy at his situation, retains his sense of compassion – he gets to know the people he has to take care of, especially and older lady and her seriously disabled son. He’s not just going through the motions, he does actually care, despite being forced into this servitude, he’s a good soul and does his best by them, while also trying to mediate between his fellow workers and the boss (who as we see is in turn under a higher boss in the gangs, all running people’s lives like a business).

The film itself is very unusual – there’s not a huge amount of dialogue, particularly not from leading man Oom. Oom keeps most of his thoughts and feelings within, only small changes in expression and body language giving us a clue to what he is feeling; it is telling, perhaps, that the most I heard him speak was to the body of a deceased member of his group. The style too is unusual – some scenes go on for what feels like far too long (right from the start – the first scene is Oom having to clean mess from a bed-ridden client, and the camera stays fixed on the scene for quite some time), until it starts to feel very uncomfortable. The shots are often very static, not moving with the characters but the camera remaining in place as a scene acts out around it, or at other times leaves a character looking directly into the lens, normally a no-no for most film-makers.

And yes, this does create quite a strange feeling – as I said it is uncomfortable, but the more I watched, the more I thought that was exactly the idea, because we should be uncomfortable at these scenes, while the often static choices of camera work make us feel like we are watching someone’s life, more like a documentary than a fictional tale, but where we have a fixed viewpoint that we cannot look away from. Having characters occasionally look directly at the lens reinforces this, especially one scene where the disabled man seems to be looking right at the viewers.

This really will not be for everyone – it is slow, it does not build up the traditional narrative (backstory, main story, character arcs), and deliberately uses camera techniques that also give the viewer a strange and not always pleasant feeling. And yet, if you stick with it, this is a slowly effective and powerful way of highlighting this modern story of international exploitation, more effectively than a more heavy handed drama might.

This review was originally penned for Live For Films

Review: Mongrel

Posted on by

Mongrel,
Sayra Begum,
Knockabout Comics

There’s an old saying that you will never understand another person, unless you walk some miles in their shoes. I’ve often thought that books, especially autobiographical works, are one of the best ways we have to learn at least some understanding of another person’s life, their culture, their perspectives, and Mongrel reinforces that belief. We may never truly be able to walk in another’s shoes, not completely – how could we, every life is a unique set of very personal circumstances, even the life experiences of twins will differ – but we can obtain a look into those other lives, other interests, worries, cultural drives and norms, and by doing so we expand our own world a little more (and hopefully make ourselves a bit more aware, a bit more open to the differing lives of others).

Drawn in a rather beautiful pencil work, Mongrel offers some beautiful visuals, lovely to look at but carefully done so they never overwhelm the subject matter. The style is quit distinctive too, especially the faces of Sayra and her family and friends, the large eyes and often profile perspective putting me in mind of the way humans are depicted in ancient Assyrian or Egyptian art. It’s an unusual style, at least in Western comics, but it works beautifully, as well as adding another layer of difference, reminding us that we’re looking into what, for many of us, will be a different culture, a different set of societal and familial norms. There are some lovely little visual techniques too – Shuna lost in thought of how her life has lead to this moment, her memories shown literally fragmented, like jigsaw pieces of her life, a thought bubble floating above her which she then reaches up and pops.

“Walking through the door of my family home was like walking through a gateway to Bangladesh.”

Shuna’s story will, no doubt, be familiar to more than a few readers, those who have had to make that difficult journey that spans different, often competing, or even opposing cultural drives. Her religious upbringing and the societal expectations her parents – especially her mother – have are formed from Bangladeshi society, but Shuna and her siblings are being brought up in the UK. Try as they might to limit their children’s external activities – which friends they can see, when they can go out and when they cannot – they are, of course, exposed to other experiences and possibilities, and some of those seem alluring, exciting even, compared to home.

But home, as they say, is where the heart is, and for all the urge to rebel there is also an urge to conform, to please the parents and others in your community, to be an accepted, welcome part of it. While the experiences may differ, in many ways this is no different really from what most of us go through growing up, especially in our teens. We long to belong, for the warmth, love and safety and acceptance of family, but we’re also driven by the often contradictory impulse to stand out, to explore our own path. We want to belong and to be individual at the same time, one of the great contradictions of human nature, yes, but it is also part of what drives us to grow. It’s often a rocky road for most of us, but for those with strictly interpreted cultural beliefs and standards, it can be so much the harder, the possible penalties for transgression far higher.

It is to her great credit that Sayra explores all sides of this generational, cultural and societal problem. It would be all too easy to take a simplistic approach – make the parents out to be villains, inflexible, unwilling to bend to accommodate the fact they are raising their children in a different land with different standards and opportunities. Yet Sayra never falls into this trap. Which is not to say there isn’t conflict here, there is in fact a lot of that, and a lot of butting of heads, of inflexible approaches and failure to compromise, to try and adapt to each other’s competing drives and needs.

But Sayra makes it clear that her mother’s strict stance, no matter how harsh it may seem to us, is driven from love for her children – her religious beliefs make her fear that their failure to comply with how she thinks they are to behave imperils them, that it could take them from the path of righteousness and into temptation. In short that her children could damn themselves and on their day of judgement they would not ascend to Paradise and so she would lose them for all eternity.

Although Sayra is drawing on her own mixed heritage, being British Bangladeshi, there is much here that any of us will recognise from the awkward moments of our own youth, of striking out on our own, sometimes against what was expected of us, against a parent’s wishes or expectations. Family and people are family and people, no matter where we come from or travel to, after all. For those who have had an even harder journey trying to claim their own individual experience in the face of family, community and societal norms – cross-cultural children, gay or trans youth for instance – it will most certainly seem all the more familiar. The cultural imperatives and strifes may be different but the song remains the same. A beautiful and emotionally honest work

This review was originally penned for Down the Tubes