Berlinale 2014 Review: THE MIDNIGHT AFTER, Fruit Chan's Maddening Pop-Art Apocalypse

Contributor; Paris
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Berlinale 2014 Review: THE MIDNIGHT AFTER, Fruit Chan's Maddening Pop-Art Apocalypse
It should have been clear as soon as the title, "Based on the novel by PIZZA", rolled onscreen. Fruit Chan's The Midnight After was sure to be loopy, irreverent and a rare kind of crazy. And it was! But running over two hours and touching nearly every film genre there is, I had no idea how much of it there would be. In terms the author may sympathize with, sometimes too many toppings can spoil the pie. 

The film starts dazzlingly enough. It's 2AM, and the city of Hong Kong is positively bursting with energy. Neon lights flash, cars whizz by and huge masses of people crowd the downtown. It is Saturday night, and it seems all of Hong Kong has come out to play. Chan captures that barely controlled chaos of big city life remarkably well. His camera roves back and forth like a rubbernecking tourist and his edits are sharp, fast and frequent as we are introduced to seventeen different characters. All of them are getting on to the same late night bus from the Hong Kong core to the district of Tai Po.

Each character is painted in broad strokes. There's a junky, a yuppie couple, a blond-haired Romeo, and a women in disguise. Then there's the bus driver, a slobby gambler played by Johnnie To regular Lam Suet. All of their fortunes will soon be entwined when the bus comes out of an underground tunnel to an empty city. It seems everyone else in Hong Kong has all of a sudden vanished, vaporized, disappeared without a trace. Or is them who have disappeared?

The film shares a close similarity to the television series Lost, an echo I don't believe unintentional, as the source novel (by PIZZA!) went under the title Lost on a Red Minibus to Taipo. As in the popular TV show, our seventeen characters have mysterious, sometimes eyebrow raising backgrounds -- the woman in disguise a fugitive from the law, the insurance broker a psychic with sorceress powers - and we flashback often to their lives before 'the event'. But where Lost exiled its cast of misfits to a secluded island, here the action is set in the erstwhile dense and highly populated streets of Hong Kong.

Chan uses that unusual sight to full effect, staging much of the manic action of the film's first half in lamp-lit hollowed out streets. Imagine the opening of the Vanilla Sky, where Tom Cruise wanders an empty Times Square, jacked up on Red Bull and meth. The visuals are equally vivid. There are plenty of canted angles and camera swoops, and the colors, from one character's red leather jacket to another's peroxide blonde hair, all pop as if pages from a freshly printed comic book. 

That comedic first half, filled with foot chases, dorm room theorizing (What if we're all dead? What if we're moving to a new plane of astrological existence?), melodramatic breakdowns and spectacular deaths, hinges on the central question, "What the hell happened to everyone else?" It builds to the film's undisputed peak, a set piece, karaoke rendition of David Bowie's "Space Oddity" that is kind of amazing. The song, it seems, offers clues and hints at the nature of the situation. Might parsing its meaning bring this mystery into clearer light?

Spoiler alert: it doesn't. 

As in Lost, The Midnight After is more interesting throwing out provocative, often outlandish theories that aren't quite red herrings, but never quite follow through. The film presents, among other things, North Korean spies, insinuations of time travel, a magical black box that contains all the secrets of Cantonese culture, aftereffects of the Fukushima meltdown and so, so much more, without ever doing much with them. The goal is not to actively seek answers to the first half's mystery, but to let the madcap insanity pummel you into submission. 

The film's second half is set almost entirely in a rundown restaurant, where the characters have regrouped. The restaurant plays host to the absolute least welcome detour, a nearly twenty minute sequence of sexual assault, necrophilia and frontier justice, when the remaining survivors must decide what to do with a wolf in their midst. It is such an ugly detour, and so glib a treatment of a real and pervasive subject, that it stops the breezy, cartoonlike film in its tracks.

That, and the sudden whiplash of moving from so freewheeling and electric a first act to so inert a second. Giving up the ghost of ever figuring out what has happened, and left with flimsy characters in vile situations, the film totally deflates. It drags on an on, and one as a viewer cannot help but checkout. Which is too bad, because by the time the car chases begin anew and the blood rain falls from the sky, it is really hard to check back in.

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berlinaleFruit ChanHong KongThe Midnight AfterFai-Hung ChanHo-Yan KongYou-Nam WongJanice ManSimon YamKara HuiComedyMysterySci-Fi

More about The Midnight After

WilliamFebruary 8, 2014 6:44 PM

"The film shares a close similarity to the television series Lost, an echo I don't believe unintentional, as the source novel (by PIZZA!) went under the title Lost on a Red Minibus to Taipo."

Good guess but "Lost on a Red Minibus to Tai Po" is a just free translation of the original Chinese/Cantonese title of the book. The original title is something like "On that midnight, I boarded a red minibus from Mong Kok to Tai Po".

It could still be the case though.

Tilman BaumgaertelFebruary 13, 2014 10:56 PM

This is a pityful review that would be too clueless to be published in the likes of the Hollywood Reporter which style it tries to emulate. This movie is real film making at its best without regards to genres and formulas, and the reviewer was too numb to understand. Pity him or her

Ben CFebruary 14, 2014 4:17 AM

And here I went like a fool trying to give a feeling for the film's tone, plot, visual texture and the experience of watching it, when all I really needed to do was publish a 14 word review -- This movie is real film making at its best without regards to genres and formulas -- and leave it at that!

Bless you, troll, you've really opened my eyes to new possibilities.

DaveOctober 22, 2014 10:00 PM

this movie was a disappointment. so many good actors and a great potential for a concept. Except we got good acting, but bad story and unconnected string of events that make no sense whatsoever. It looks like Director just threw in bunch of Hollywood motifs (a British song, vampires, spies, shady government organization, time travel) which don't serve the purpose alone or together for anything other than take the audience for stupid. that's injustice to all the paying customers who went to see this movie.

Jd PanJuly 10, 2015 12:54 PM

so what happen in the end? why after they pass through the tunnel or during the journey in the tunnel,all the cars went missing? And the main actor's girlfriend said they have been missing for 6 years?lol