The gripping Taiwanese neo-noir film A Sun mostly escaped critical notice in 2020 after hitting Netflix last January, only coming to broader attention when Variety critic Peter Debruge named it the best film of 2020. Even now, it has just 15 reviews on Rotten Tomatoes, only three from major U.S.-based outlets, despite making the short list for the Academy Award for Best International Feature. It should have advanced to the final five, because it’s one of the best films I’ve seen from 2020, wrapping a 21st century crime drama and a story of family tragedy ripped out of 19th century Brit Lit together in a strange and totally compelling picture.
A Sun starts out with a shocking scene, as we see two teenage boys heading through the kitchens of a large restaurant into the dining room, where one of them approaches another teenager at a table, takes a machete, and hacks off the victim’s hand, leaving him screaming and covered with blood on the floor. The reasons for this won’t become apparent for some time, but we learn that Chen Jian Ho, called A-Ho throughout the film, is one of the two attackers, along with his friend Radish, and claims at the trial that he thought they were only going to scare the victim, not maim him. This incident sets off ripples throughout A-Ho’s family – his seemingly perfect brother, studying in cram school so he can become a doctor, starts to crack from the added pressure on him as the good son; his father refuses to acknowledge A-Ho as his son, and is beset by the victim’s father, who demands the compensation the court awarded him; his mother, quietly devastated time and again in this film, takes in A-Ho’s young girlfriend, who is pregnant with his child and living with an aunt. We follow A-Ho through his time in prison and his release, but when Radish, who received a longer sentence, gets out as well, he tracks A-Ho down and proceeds to make more trouble for his ‘friend’ even as A-Ho is trying to live a quiet, law-abiding life.
There are so many layers to A Sun, which is titled “Sunlight Reveals All” in Taiwanese, but at its heart it’s a story about A-Ho and his father, who works as a driving instructor and clearly wants more for both of his kids than he’s gotten from life. Chen Yi-wen, who plays A-Ho’s father Wen, won the Taiwanese equivalent of the Oscar for Best Actor at the Golden Horse Awardst, but his performance here builds over the course of the movie; what starts out as a hackneyed “I have only one son” character develops into far more by the time the movie hits its climax and Wen has to make a choice to help A-Ho when Radish once again has him in trouble. Chen’s performance is anguished and understated, and the dynamic between him and A-Ho (played by Wu Chien-ho, who was also nominated for the Golden Horse for Best Actor) reveals itself slowly to be more complex and emotional than it first appears.
There’s some irony both the original and English titles of A Sun given how much of the movie takes place under cover of night or in pouring rain; even when the sun is out, it’s often shining a light on something we’d rather not see. Director and co-writer Chung Mong-hong gives the film its neo-noir feel by keeping so much of the film in the literal and figurative dark; we don’t learn anything about the reasons for the initial attack until well into the second half of the film, by which point it threatens to upend the audience’s established opinions on various characters, and resets the tone for the drive to the finish. Chung’s script avoids black and white answers, right up through the final scene, in depicting a family that has made mistakes but is also being pushed around by inexorable fate. The sun will rise tomorrow, but you might not like what it shows you.
