Coming to cinemas on the 29th of May is director Herman Yau’s latest film, We’re Nothing At All. The film follows the investigation of a bus bombing in Hong Kong. Based on true events, Yau injects fictitious characters to add a deep and human story to this already tragic event.
We’re Nothing At All opens with intense imagery showcasing the explosion, which immediately grabs your attention. From there, we are introduced to retired detective Leung (Patrick Tam). He is brought back out of his early retirement to figure out what happened and who caused this tragedy that claimed approximately 15 lives. We’re Nothing At All is a harrowing tale, showcasing the crushing nature of society and how not even love can save you from it.
Assuming means it’s not truth
When We’re Nothing At All first begins, you figure it is going to be about the investigation, the whodunnit. You hope that it will keep your attention as Leung tries to decipher who it was that destroyed these lives. Then, as the film splices the other story into the narrative, the story of two young men desperately trying to survive the world, your mind is changed. You realise that you want to see these two young men live a life together. One that is filled with the joy only love and acceptance can give, sadly, this is not that kind of world.
Yau clearly cares about this story, not only writing, producing, and directing this film, but he also funded it himself. He pours everything into this film, and it shows. A highlight for me was when the investigation team are trying to piece together the journey of the bus, and the victim’s journey is shown alongside them.
He wants as many people as possible to know this kind of story happens, and these people’s voices need to be heard. It’s a powerful film, steered by an emotional dynamic between two of its ensemble cast. Fai (Anson Kong) and Ike (Ansonbean) meet by chance, Ike sketching Fai one night as he plays basketball, then after a short time, they move in together. Not just because they love each other, but because they need each other. The society they live in pushes everybody down; the government promises so much and delivers so little. As two gay men, they feel especially ostracised, which is felt throughout the entire film as other characters deal with society and its smothering doctrine.
In an avalanche, no snowflake is innocent
As I said before, Kong and Ansonbean are a compelling duo; their relationship is one of codependence. Neither can survive without the other. Kong in particular is fascinating to watch, a wounded animal that Ansonbean’s Ike coaxes into the light, even if it is brief.
We’re Nothing At All is an utterly tragic story before you even know what it is, and it’s this extraordinary story that will grip you. The characters in this film may be fictional, but the lives they represent are not, and you can’t help but feel a genuine ache when the film hits its climax.
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