There is a concept many artists subscribe to which seems quite foreign to the rest of us. Simply stated, it goes something like, “Art is in the process, not the outcome.” This implies a world that is invisible to most of us; one where the feeling of creation makes art a living entity and experience. The reception of a process versus the actual engagement of emotions is an idea explored in The Act of Crying, a film from writer/director Xiayang Li. This story explores traditions of grief in the Chinese culture in a modern American setting. Recognized with a Los Angeles Film Award and a nomination for Best Narrative Short at Oceanside International Film Festival, The Act of Crying achieves the remarkable goal of communicating a universal feeling through a very specific experience. At a time when authenticity is coveted in filmmaking, Xiayang has created a film steeped in this which also displays a tone recognizable to all people in the examination of how we process loss. Great filmmaking is when the story resonates among a diverse audience and The Act of Crying meets this standard in a profound manner.
Conrad (actor Anthony Lien, known for his work on numerous Chinese productions such as West of Nowhere and Almighty House, streaming on Tencent and iQiyi-two of China’s largest platforms) is an acting student with a problem; he can’t make himself cry on command. This is problematic for an actor but it indicates the underlying conflict of a certain disconnect or stifling of this emotion for the young actor. He works repeatedly with his acting coach Felix (actor Richie Johnson) but is unable to tap into a component that will provide access. The fact that his fellow acting students (like Kennedy Porter of the People’s Choice Awards and BET Awards nominated series Bel-Air) don’t share his stunted emotional limitation, only exacerbates the downward spiral of Conrad. Throughout the film, we see Felix and Conrad connect both as men dealing with societal demands of their emotional conduct, and as artists who demand something just as daunting from themselves.
The Act of Crying makes a strong case for writers directing their own films. While not a dual skill set that everyone possesses, after watching this film it’s difficult to imagine anyone but Xiayang directing it. There are moments which linger for an uncomfortable time; ones quite necessary to relate the idea that Conrad is anxiety riddled in his emotional paralysis. There are only three people who truly know how Conrad feels: Anthony Lien, Xiayang Li, and Conrad himself. This trio has collaborated to materialize an emotional state so complex and potent that it permeates the entire story. The process Conrad endures could easily be monotonal in less skilled hands but the director and actor of this film have placed a cloud over Conrad’s visage that is transfixing to watch. Anyone who has felt the inability to control their own emotions will immediately recognize this frustration. Even the turning point of this film is steeped in uncertainty. When Felix attends the funeral of Conrad’s father, they find themselves yet again discussing this inability to cry. It seems that crying is a performative component on a Chinese funeral, one which vexes Conrad. As the two men share this topic, we come to realize that there are layers to the father-son dynamic of this story that we’d not glimpsed until now. The scenes of the family with the casket utilize numerous wide shots with minimal camera movement to create a sense of confinement and quiet despair.
You might be inclined to think of this film as a story about a Chinese man and his family. While there’s truth to this, you’d be limiting yourself by subscribing to these parameters. The Act of Crying is about so many things: the Chinese experience, the minority experience, the artist experience, the male experience, and yes, the human experience. This is a beautiful story about accepting our own identity and recognizing our shared qualities and experiences with others. Filmmaker Xiayang Li has crafted an endearing film which embraces individuality while offering a bridge to connect us all; a concept greatly needed in present times.
Writer : Basil Thomson
Punit