A disaster on Valentine’s Day sets off a sprawling tale of hidden lives and social fault lines in director Herman Yau’s ambitious ensemble drama
Prolific Hong Kong film-maker Herman Yau is back with an ambitious, sprawling drama that is, at best, an awkward composite of his past works. We’re Nothing at All kicks off with a moment of rupture: on a seemingly ordinary Valentine’s Day in Hong Kong, a double-decker bus suddenly bursts into flames. The deadly explosion triggers a police inquiry led by Lung (Patrick Tam), a skilled forensics specialist whose investigation reveals a maze of intersecting lives. Much like the volatile opening, the rest of the film luxuriates in paradoxes, where the facade of normalcy is peeled back to reveal poverty, prejudice and despair.
From inspecting the charred bodies of the victims – rendered in lurid closeup – to retracing CCTV footage, Lung’s gathering of clues is crosscut with flashbacks concerning those involved in the explosion. Among the dead are lovers Fai and Ike (played by pop stars Anson Kong and Ansonbean), gay men who have endured economic hardship and family rejection. With its golden hues, the warmth of their intimacy starkly contrasts with Lung’s world of colourless offices and sterile meetings. The juxtaposition is visually fascinating, yet the twin narratives of a police procedural and queer romance are strained, resulting in tonal disorientation.
