After his mother flees the family home, a son turns to thieving in order to support his father, an abusive sort who is addicted to gambling.

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Writers:

(screenplay) (as Koi Leong Tian), (screenplay)
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17 wins & 18 nominations. See more awards »
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Cast

Cast overview, first billed only:
...
...
Lee Yuk-lin (as Charlie Young)
Ian Iskandar Gouw ...
Lok Yun
...
Fong
...
Ha Je (as Hai Lu Qin)
...
Jennifer
...
Chow Lok-yun - young adult
Kam Weng Mok
Yee Swee Tam
Wai Chang ...
(as Kong Heen Chang)
Guai Yuen Mak
Chit-Man Chan ...
Strong Man (as Lester Chan)
Jun Hoe Thai
Allen Lin ...
Sick boy's father (as Yi Lun Lin)
...
School bus driver
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Storyline

After his mother flees the family home, a son turns to thieving in order to support his father, an abusive sort who is addicted to gambling.

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

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Details

Country:

Language:

Release Date:

30 November 2006 (Hong Kong)  »

Also Known As:

After This Our Exile  »

Filming Locations:

 »

Box Office

Budget:

HKD 20,000,000 (estimated)
 »

Company Credits

Show detailed on  »

Technical Specs

Runtime:

| (director's cut) | (director's cut)

Sound Mix:

|

Color:

Aspect Ratio:

1.85 : 1
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Did You Know?

Connections

Referenced in Lik goo lik goo dui dui pong (2007) See more »

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User Reviews

 
Malaysian Small-Town Drama made by Hong Kong
12 July 2007 | by (The Far East) – See all my reviews

I, and probably most Malaysians (and possibly South-East Asians), was pleasantly surprised to find that this was in fact a "Malaysian" movie made by a mainly HK cast and crew. The award for best screenplay was well-deserved for its authentically-researched "Malaysian" script and setting. And the fact it won awards and critical acclaim in HK movie industry showed that HK did not hold the "purist" attitudes that mainland China and other regional movie industries have.

Yes, I'm talking about the mainly Cantonese dialogue. Many Malaysian ethnic-Chinese are native Cantonese speakers, but the way they incorporated various Malay and other words/ accents into their speech is just as "notorious" as the way HK Chinese incorporated various English and other words/ accents into their speech. And just like mainstream Chinese cinema audience did a double-take when they heard a mish-mash of Mandarin accents in "Crouching Tiger, Hidden Dragon", I was frequently jolted back into Malaysia by the mish-mash of Cantonese accents.

But apart from the dialogue, it also gets alternative/ art cinema credit for its naturalistic style of filming-- almost the opposite of Hollywood's so-called "realism" with "balanced/ well-made" characters/ plots/ themes/ etc. Because watching a family/relationship disintegrate is very much like watching a train-wreck in super-slow motion, with most of its sleeping passengers slowly waking up. If you have been cursing the father throughout the whole movie, the final scene with the son is especially heart-breaking.


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