User Reviews (7)

Add a Review

  • Insights about Singapore, insights about human nature, about loneliness, togetherness, love, heartache, us being connected via joy and sadness. The film takes its time, but for the patient, it delivers. Just like Ilo Ilo.
  • Warning: Spoilers
    Ling does not seem satisfied with life - indeed, it is roughly half-way through 'Wet Season' before we even see her smile. She is obsessed with having a baby, but her husband does not seem similarly interested, preferring to go out drinking with clients instead of attending Ling's fertility sessions. At home, Ling has to spend a great deal of time looking afer her invalid father-in-law. Even her job teaching Chinese at a boys' school is considered by the school's authorities as less important than other subjects. But when she starts giving remedial lessons to Weilun, one of her pupils, life takes a more interesting - if troubling - turn.

    The plot is not original (right down to the sex scene, which contains a troubling 'when a woman says "no", she really means "yes"' aspect). But the film being set in Singapore means it is unusual for European audiences, with unfamiliar elements such as wushu (a sort of gymnastic martial art) and never-seen-before fruit and vegetables!

    Within the confines of their roles, Yann Yann Yeo as Ling makes for a fairly sympathetic central character and Jia Ler Koh's Weilun is a fresh-faced hero. This film certainly is not one that I felt was a waste of my time, but given the predictableness of the plot and the limitations of the characters - particularly Weilun, of whom we never learn enough - I doubt it will linger long in the memory. But for what it was, I enjoyed it. Seen at the 2019 London Film Festival.
  • chong_an12 September 2019
    A Malaysian-born woman is married to a Singaporean man, and living in Singapore. She is busy. She is trying to get pregnant, and when her husband is not in the mood during her fertile period, resorts to using her husband's frozen product. She is the evening caretaker of her stroke-ridden father-in-law, who spends much time watching martial arts movies on TV. She is also a high school teacher in Mandarin, whose ethnic Chinese students are not motivated to learn their heritage language. When she tries to run a remedial class, it rapidly dwindles down to one student - who happens to be a martial arts artistic competitor. As the time for her duties overlap, the student develops a case of Hots for Teacher.

    Seeing this at the Toronto International Film Festival with Q+A, the director mentioned that the wet monsoon season (and the time period of the film) lasts 6-8 weeks. The rain serves as an indication of the teacher's mental state, as well as acting as the soundtrack of the film. The backbone of the story is that Singapore kids are far more interested in English, the language of commerce, than their heritage. (Interestingly, the lone student interested in Mandarin suggests he might want to do business with China.)

    Overall, a good film.
  • In the grain of Taiwanese New Wave director Edward Yang and Hou-Hsiao Hsian, Anthony Chen's sophomore feature after Ilo Ilo establishes himself as a keen observer of unconventional relationships and Singapore realism. While the social commentary about Singapore's pragmatism and middle-class life was humorously played out with meticulous attention to the settings in the 90s during the Asian Financial Crisis in Ilo Ilo, the critique here is less layered, fleshed out more explicitly by how Chinese Language is sidelined and pursued only for economic interests, how the interaction between Ling the teacher and her principal centres on success and promotion, and how marital relations are reduced to discussions on surgical IVF treatments. Still, the themes of isolation and displacement are woven intricately through a monochromatic palette and sensitive characterization, anchored particularly by delicate performances from Yeo Yann Yann and Simon Yong, the Father-in-law who unwittingly assumes the role of a surrogate child who keeps the loveless couple together. For a local production, it is a bold take on a forbidden teacher-student relationship and Anthony's compassionate gaze carries the sombre, but predictable story with beautiful sensitivity. The wet season may mask our tears and the disillusionment from the Singapore dream, but it could also signal a fresh start to find the connections that make us human again.
  • xiaohei-801122 December 2019
    A movie that forcus more on the main character.every detail is so exquisite that u can't find flaw in movie. Super performance by the actress that had to restraint her feeling which is so hard to perform but she manage to make it. And the dad act so natural that I think he's really a stroke patient. It could be better if jump between scene will be more smoother and more focus on the rain drop transform as this is the main root of the movie. Every performance is so natural that there's is no sign of acting in this movie.
  • Teenage infatuation takes the front seat in Anthony Chen's second feature film Wet Season which by the time the drama ends gives you a feeling that is equal to what you feel when rains stop and the sun comes up in the sky with all its glory. With a proper blend of nuanced performances by the two lead able actors and subtle filmmaking, the story about a high school teacher and her inquisitive student and Wushu (Chinese Kung Fu) enthusiast moves with a pace that is bound to bring a smile to your face with its straightforward story, dry humour with enough stereotypical jibes between the characters, and unallayed emotional tension. The themes of invisible marital discord, anxiety about childlessness, caring the old, and teacher-student dynamics lines the simple plot with silver as the actors shoulder the entire film to turn it into what it is: an honest look at how such relationship start and how even they can be seen as pure despite the societal dogma. I like how Chen compares the discomfort of a monsoon season (a full-fledged one, I mean; not the joy of the first rains) with the proceedings of the film, which is only heightened by the facial expressions of the remarkably talented Yann Yann Yeo. The high school scenes are a pleasure to watch. I cannot stop gushing even though I wanted it to end at least 20 minutes earlier. TN.

    (Watched and reviewed at its India premiere at the 21st MAMI Mumbai Film Festival.)
  • Still wondering why I liked it! Perhaps it was the acting, direction or... NO, that was it. Not too special of a story, but a DRAMA that's just gonna feel GOOD. Even got a STANDING OVATION at that screening. GO FOR IT!!!