ILO ILO is a breath of fresh air in the complex, exciting world of Asian cinema. I hadn't seen any films before dealing with Singaporean society so I was looking forward to watching this one and I wasn't disappointed. ILO ILO is a beautifully shot, beautifully acted family drama and I find it hard to believe that the director was only in his 20s when he made this. What a talent!
The story is a small-scale one designed to highlight the melting pot of cultures and identities that co-exist in the city state. The main character is a Filipino maid who comes to look after the spoilt son of a Chinese family living in Singapore. Initially the boy hates her, but gradually the maid becomes a part of the family. However, the recession blighting the country during the late 1990s is a cloud that looms on the horizon.
ILO ILO is very good at putting across a sense of time and place and I particularly enjoyed the backdrop of financial difficulty in which job loss, quiet desperation, and even suicide are themes. What keeps you watching though are the expertly-drawn characters who are brought to life through sparse dialogue. The maid is a thoroughly sympathetic protagonist, but the real delight is child actor Jia Ler Koh; I really appreciate films where you initially hate a character but end up loving them and that's the case here. I'm not a huge fan of art-house cinema but this is a film I can recommend to all.
The story is a small-scale one designed to highlight the melting pot of cultures and identities that co-exist in the city state. The main character is a Filipino maid who comes to look after the spoilt son of a Chinese family living in Singapore. Initially the boy hates her, but gradually the maid becomes a part of the family. However, the recession blighting the country during the late 1990s is a cloud that looms on the horizon.
ILO ILO is very good at putting across a sense of time and place and I particularly enjoyed the backdrop of financial difficulty in which job loss, quiet desperation, and even suicide are themes. What keeps you watching though are the expertly-drawn characters who are brought to life through sparse dialogue. The maid is a thoroughly sympathetic protagonist, but the real delight is child actor Jia Ler Koh; I really appreciate films where you initially hate a character but end up loving them and that's the case here. I'm not a huge fan of art-house cinema but this is a film I can recommend to all.