Limbo – first-look review | Little White Lies

Festivals

Lim­bo – first-look review

05 Mar 2021

Close-up of a person's face holding a gun, in black and white.
Close-up of a person's face holding a gun, in black and white.
Soi Cheang’s gris­ly yet daz­zling mono­chrome noir fol­lows a pair of cops inves­ti­gat­ing a ser­i­al murderer.

Ben Sharrock’s 2020 Lim­bo con­cerns refugees wait­ing for asy­lum approval while housed on a remote Scot­tish island, the film’s title refer­ring to the logis­ti­cal cir­cum­stances set­ting its plot in motion. In con­trast, Soi Cheang’s 2021 Lim­bo allows for some inter­pre­ta­tion with its choice of title.

Pre­sent­ed in par­tic­u­lar­ly bewitch­ing black-and-white, this gris­ly Can­tonese noir flirts with var­i­ous gen­res and is full of char­ac­ters deal­ing with very dif­fer­ent forms of aban­don­ment, each wait­ing to move on with their lives. And spin­ning off from the title’s bib­li­cal con­no­ta­tions, there’s one lead who’s essen­tial­ly made to be a mar­tyr, then fac­ing a form of Hell on Earth.

There’s also a chance that Lim­bo may be a dark pun con­cern­ing the ama­teur ampu­ta­tions involved in its story’s mur­der case. A ser­i­al killer in Hong Kong has a pen­chant for blunt­ly sev­er­ing the left hands of his pre­dom­i­nant­ly female vic­tims, which are some­times found long before the rest of the bod­ies – the con­nec­tive thread with the women is out­cast sta­tus, from call girls to drug addicts. The task force assigned to the case is osten­si­bly head­ed by young recent grad­u­ate Will Ren (Mason Lee, son of Ang), though he’s paired with more expe­ri­enced detec­tive Cham Lau (Lam Ka Tung).

Cham’s chaot­ic nature is estab­lished ear­ly on by his fish­ing chop­sticks out of an office bin for use with his cur­rent lunch, but it’s a chance encounter while fetch­ing intel that makes it clear to Will why his col­league is on shaky ground to offi­cial­ly lead a major inves­ti­ga­tion. Upon dis­cov­er­ing that a par­tic­u­lar small-time crim­i­nal, Wong To (Liu Cya), has been released from jail ear­ly for good behav­iour, Cham impul­sive­ly stalks and near­ly kills her, dri­ven by rage and trau­ma con­cern­ing Wong being behind the wheel when his preg­nant wife was run over.

Afflict­ed with guilt about the acci­dent, Wong turns informer for the case’s search for leads in the slums, though Cham’s reck­less actions only serve to increase the chances of her being slain by the deal­ers and gangs she’s made to rat on.

Chaotic black-and-white scene depicting a war-torn urban area, with debris, rubble, and injured individuals strewn about.

Per­haps best known inter­na­tion­al­ly for the mar­tial arts movie Kill Zone 2 (or SPL 2), Cheang’s action cre­den­tials are on full dis­play in one elec­tric extend­ed set-piece involv­ing Wong being pur­sued on foot by, and then brawl­ing with, rough­ly a dozen assailants, through garbage-strewn alleys and tight garage spaces.

The film’s vio­lence is often dis­tress­ing, includ­ing a rape sequence tinged with heavy his­tor­i­cal and polit­i­cal bag­gage due to the involved char­ac­ters’ back­grounds. Some of Cheang’s ear­li­est fea­tures were hor­ror movies, and there’s a gen­uine­ly unnerv­ing qual­i­ty to Limbo’s tone and pre­sen­ta­tion of the dark­er side of Hong Kong’s devel­op­ment, espe­cial­ly the labyrinthi­an slums and the murderer’s open-air lair where much of the sec­ond hour is spent.

Tor­ren­tial rain beat­ing down upon a maze of scrap, junk and fes­ter­ing rub­bish and bod­ies lends the last act the feel of a dystopi­an sci-fi, a qual­i­ty bol­stered by ear­li­er sec­tions’ visu­al fram­ing of the region’s non-dilap­i­dat­ed cityscapes in a warped, almost illu­so­ry fash­ion. Lim­bo is an incred­i­bly bleak film, though also a styl­is­ti­cal­ly auda­cious one that enthrals as much as it can disgust.

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