The beginning is a fairy tale, or a nursery rhyme. A woman nurses her squalling baby in a house by an orchard near the sea. Sunlight slants in through the open windows, the mother hums a lullaby, a…
The beginning is a fairy tale, or a nursery rhyme. A woman nurses her squalling baby in a house by an orchard near the sea. Sunlight slants in through the open windows, the mother hums a lullaby, and then brings her son outside and places him in a cot suspended from the apple-laden branches of a tree. But through the course of’s uneven but finally deeply affecting and strange coming-of-age tale “Over the Sea,” the bough will break, the cradle will fall, and down will come baby, cradle and all.
After one such incident, Sun comes to his daughter’s defense, but is chased into the street where he is hit by a truck. That accident, the frequent radio reports about sea monsters being washed inland on abnormal tides, and Xiaojie’s obsession with a book about the ocean he cannot afford all feed into his hyperactive kid’s imagination where fantasy and reality blur into one another, often in the same sweeping, unbroken shot.
Director Sun chose locations from his own childhood: the motel, with odd internal windows good for scrambling through, and a kitchen wall spattered with grease is really his uncle’s motel. Uncle Sun is played by, well, his actual Uncle Sun. And Xiaojie’s mannerisms, his angular, jerky physicality and his pugnacious, truculent expressions feel so much part of the role because Sun wrote the part after knowing his young actor for a full year already.
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