The Way We Talk review – sensitive drama explores deafness via three friends' infectious warmth
An incisive film-maker with a keen eye for contemporary youth culture, Hong Kong director Adam Wong has returned with another sensitive ensemble drama. The film follows three twentysomething friends as they navigate various degrees of deafness. Alan, played by first-time deaf actor Marco Ng, is a cochlear implant (CI) user. He is also an ambassador for the surgery, which can help restore sound perception for those with hearing loss. Wolf (Neo Yau), his childhood friend, is a staunch user and supporter of sign language, which at one point was prohibited in local deaf schools; such institutions prioritised speech training, then believed to work better for hearing-impaired students. Sophie (Chung Suet Ying) is at a crossroads: she is a CI user who cannot sign, but yearns to learn.
It would, of course, be simplistic to portray these different forms of communication as inherently at odds with one another; instead, Wong's film emphasises that, whether it is CI surgery or sign language, deaf people must be granted the autonomy to make these decisions on their own. Besides posing these thought-provoking questions, Wong also constructs rich inner worlds for these characters, in which deafness is only one thread of a whole tapestry. Wolf's passion for the sea, for instance, is felt in the smallest of details, such as the ocean-themed trinkets that line his study desk. It's the kind of visual attention that renders his dismissal from a diving school due to a lack of sign language interpreters even more heartbreaking.
Like many films dealing with social issues, The Way We Talk is not without its moments of didacticism, but the easy chemistry between the three leads lends the film a natural, infectious warmth that engagingly foregrounds its message of community.
The Way We Talk is in UK cinemas from 13 June.
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An incisive film-maker with a keen eye for contemporary youth culture, Hong Kong director Adam Wong has returned with another sensitive ensemble drama. The film follows three twentysomething friends as they navigate various degrees of deafness. Alan, played by first-time deaf actor Marco Ng, is a cochlear implant (CI) user. He is also an ambassador for the surgery, which can help restore sound perception for those with hearing loss. Wolf (Neo Yau), his childhood friend, is a staunch user and supporter of sign language, which at one point was prohibited in local deaf schools; such institutions prioritised speech training, then believed to work better for hearing-impaired students. Sophie (Chung Suet Ying) is at a crossroads: she is a CI user who cannot sign, but yearns to learn. It would, of course, be simplistic to portray these different forms of communication as inherently at odds with one another; instead, Wong's film emphasises that, whether it is CI surgery or sign language, deaf people must be granted the autonomy to make these decisions on their own. Besides posing these thought-provoking questions, Wong also constructs rich inner worlds for these characters, in which deafness is only one thread of a whole tapestry. Wolf's passion for the sea, for instance, is felt in the smallest of details, such as the ocean-themed trinkets that line his study desk. It's the kind of visual attention that renders his dismissal from a diving school due to a lack of sign language interpreters even more heartbreaking. Like many films dealing with social issues, The Way We Talk is not without its moments of didacticism, but the easy chemistry between the three leads lends the film a natural, infectious warmth that engagingly foregrounds its message of community. The Way We Talk is in UK cinemas from 13 June.
