Tape

Tape, by Bizhan M. Tong, is a fascinating new Hong Kong drama; a remake of Richard Linklater’s 2001 film of the same name. With the exception of its beach-set, flashback bookendings, the scenario takes place entirely in one apartment. The first half of the film is based around a conversation between two old school friends, now in their early thirties. One is a filmmaker and seemingly has his life all figured out; the other is a drug-dealer who loves a drink and also enjoys setting up video cameras around the place – their purpose unbeknownst to the audience until act two.

 

The narrative leads to a brutally uncomfortable confrontation with a third character – another school friend. A woman with a deeply complex and upsetting relationship with these two men. This is a movie about past sins, the everlasting impact of abuse, and the psychology of a guilty individual running from their past, and another who uses information to exploit. The screenplay is engaging, and the film is elegant enough in its overall construction and performances, and yet there remains a slightly televisual quality that never really goes away – not to mention complex issues which are approached with a disconcertingly heavy hand in moments – hindering the overall viewing experience.

 

This critic should confess that, whilst I am an admirer of Linklater, I have not seen the original Tape. I wonder, since Linklater is a strong stylist, whether he manages to make the environment slightly more cinematic than holds true here. Because while I enjoy the set-design, clean lighting, and blocking of the piece, one can’t help but feel that the filmmakers miss a trick by limiting themselves to a single location. But then again, that’s part of what makes the beach scenes feel so refreshing visually.

 

It may be an integral aspect of the story, but to really pull it off, the cinematography should either hold more of a presence – or, on the other hand, you completely strip it down and go completely theatrical (see Alfred Hitchcock’s Rope). The in-between space this film’s aesthetic occupies is only ever as fascinating as what’s taking place on screen (as opposed to the form and method enhancing what is seen).

 

Thank goodness then that what takes place gets very interesting very quickly – a credit to original writer Stephen Belber and its director/writer Bizhan M. Tong. This is a deeply disturbing film that actively encourages a divisive response from its audience. You could also argue that it’s a shame on the writers' part that the only female character is – at least for a good portion of the film – presented simply as a victim, a subject of argumentative discussion.

 

The third act changes this, and she gets to hold some satisfying authority, but at that point it feels slightly too convenient. The scenario on its own is certainly entertaining, shocking and button-pushy, but would lack any real power if not for three excellent and devoted performances by Kenny Kwan, Adam Pak Tin-Nam and Selena Lee. Praise should also go to the director Tong for helping to maintain such believable performances in such a restrictive setting wherein character is not always so easily conveyed.

Tape will be in UK Cinemas from 19th September