Wet Season is a drama from Singaporean filmmaker, Anthony Chen, following his 2013 debut, Ilo Ilo. It was also Singapore’s submission for the 93rd Oscars, though it didn’t end up getting nominated. However, it would have been deserving of a nomination had it been the case. It follows Ling (Yeo Yann Yann), a Mandarin-language teacher whose class doesn’t put in much effort. She also helps in taking care of her bedridden father-in-law who can’t speak, following a stroke, while also dealing with a strained relationship to her unsupportive husband, Andrew (Christopher Lee), with whom she has been trying to have a child with for eight years now, currently resorting to IVF treatment.
So much of Ling’s world leaves her feeling alienated, not just because of the previously mentioned aspects of her day-to-day life, but also with the fact that she is Malaysian, a foreigner in her own home in more ways than one. The only one who seems to show any attention and appreciation at all is one particular student, Wei Lun (Koh Jia Ler), who has a not-so-subtle crush on her. They begin spending more time together during their tutoring sessions, often giving him a ride home as well. It isn’t until later that we find out he lives home along while his parents are out on business overseas.
With a setup like that, it’s not hard to imagine where the situation between the two will end up, and you wouldn’t be wrong. However, Chen’s approach is very patient and methodical. It’s very easy to tell a story about a relationship between a teacher and a student in sensationalist terms and methods. It requires a balance, and one that he handles very well because it is centered on character first. It doesn’t try to tell you how to feel, or handhold you through the emotions. There’s a lot of trust placed not only on the actors to sell the conflict, but also in the audience to absorb all the nuance within said conflict.
Speaking of the actors, the performances from Yeo and Koh are fantastic. It’s very naturalistic and subtle, and Chen is by no means afraid to let the actors work in silence for extended periods of time, using their body language and the way they use their eyes to convey information. Christopher Lee is also good, but given the nature of his character, he is not often around to make an impression, which is the whole point. But once it’s all said and done, it is ultimately Yeo Yann Yann’s film, and she carries it effortlessly from start to finish.
Wet Season is a very good film. I’m not super well versed in the Singaporean film industry, but this is a great way in, and from what I hear, Anthony Chen’s first picture is great as well. Wet Season is made with a lot of restraint, but it doesn’t really have a dull moment. Practically every shot gives us something interesting, whether it’s further insight to the characters, often through real clever and effective camera work, or a look at society in Singapore, which is very observant, and fairly easy to catch onto, even if you aren’t super attuned into the cultural nuances. I especially liked the way Chen utilizes language, mixing in Mandarin and English, which many of the youths and upper-class prefer to speak. It’s a film that offers a lot to unpack, but without making it feel like homework. I will definitely be looking forward to whatever Anthony Chen has going on in the future.
Wet Season will open in select theaters and virtual cinemas on April 30th.