`Paradise' finds itself full of optimism

Rizal Iwan, Contributor/Jakarta

Paradise is a place to find solace, freedom and your true self.

At least that is what it means to Chinese-born, Dutch director Fow Pyng Hu in his second feature film, Paradise Girls, a solemn look at feminine strength, selflessness and independence.

The Dutch-educated Hu tries to stay true to his roots by portraying three Asian women in different parts of the world, each dealing with a crisis caused by the men in their lives, two of which have also to deal with cultural differences.

The first segment follows Miki, a free-spirited young Japanese woman who strives to identify what is wrong in her relationship with a Dutch man, and does everything she is capable of to make things right. The second is about Pei Pei, a Chinese girl living in the Netherlands, whose independent streak is completely subsumed by her obligation to take care of her father.

She helps him run his restaurant, stands up for him and puts her life on hold for his happiness. Her father returns the favor by being overly judgmental of her in everything she does, probably because it is the only way he knows to show his affection.

The third segment, the best of the three, tells the story of Shirley, a struggling model and a single mother in Hong Kong, who is put to the test as she finds out that her young son is diagnosed with a serious disease and has to find a way to rake in a large amount of money for his operation.

The women are eventually linked as they all find their deliverance in a cathartic escape to Bali. (At least we think it is Bali, because Pei Pei says she has always wanted to go to Bali. But then why is a local woman there inexplicably speaking with a Thai accent?)

All three segments have their own charm, and are aptly structured. Each touches the heart in a different way. The first has quirkiness and breeziness. Miki's delivery of her English dialog is comical and adds a dab of innocence to her character (although for some, it may result in unintended giggling).

At times, we do not know whether to be amused or sorry, seeing how Miki and her Dutch boyfriend never seem to be speaking in the same language, and the only time they completely connect is when they are in bed.

From this we move to a meatier episode, as we go through Pei Pei's struggle to cope with her father-daughter relationship.

What is so moving about Pei Pei's character is her relentless, almost numb devotion, which culminates in the heartbreaking bathroom scene where she comes to terms with her pain, not knowing what to make of her newfound freedom because it means losing the father she loves so much despite his psychologically- destructive nature.

But it is the third episode that brings the whole fresco to its liberating conclusion. Shirley's only way to find her freedom is to do whatever it takes to save her only child's life.

Hu gives a solid foundation to this motive simply by giving us wonderful illustrations of how the mother and son interact (kudos to Hu for being able to bring out the child actor's amazingly natural performance).

All three segments convey strength, but by the third episode, Hu's script strengthens to another level. There is no option, there is no escape. Even Hu's concept of paradise for this episode is slightly different from the other two, which is quite a sly way to keep the film from being overly predictable.

It is great the way Hu stays away from melodrama, as we never see any of the three characters cave in. The three actresses' performances are effective because they never let their frustration surface.

Their stoic performances then become a way to let us dive deeper into the poignancy of each situation, and it's almost like we are feeling the pain for them.

Paradise Girls is a proud, optimistic successor to Fow Pyng Hu's well-received feature debut Jacky, and will be screened as one of the three Dutch feature films in the "Made in Holland" section in this year's Jakarta International Film Festival.