70
Strong performances by veterans Tai Bo and Ben Yuen make the protagonists’ struggle concrete and affecting.
What are people saying?
What are critics saying?
80
The Hollywood Reporter by Elizabeth Kerr
Suk Suk is his most accomplished, mature film to date, and Yeung demonstrates a keen eye for the social dynamics that impact us and how we respond to them, and finds space to bask in the simple pleasures, basic generosity and the safety net that is family while simultaneously dealing with homophobia, ageism and faith.
75
San Francisco Chronicle by G. Allen Johnson
Twilight’s Kiss is a fragile film of quiet moments and tender feelings, and although it runs out of gas near the end, it takes us on an engaging journey.
80
Los Angeles Times by Gary Goldstein
Some may also wish this low-key film spent more time with Pak and Hoi together than it does with them apart. Yet this approach lends the story a kind of mosaic quality, effectively fleshing out our protagonists vis-a-vis their friends, family members and home lives.
70
The New York Times by Nicolas Rapold
Handsomely shot but humble in approach, the film can often feel purposeful, laying down groundwork that other stories of queer experience might take for granted. But Tai Bo’s pragmatic momentum as Pak has a way of restoring a succinctness to the movie, which avoids minimizing or exploiting the pains of concealment.
60
A mosaic portrait of Hong Kong’s older gay community is pieced together, but the film loses some of its energy and focus as it drifts to its close.
83
The Film Stage by Zhuo-Ning Su
If there’s one complaint to be made about the tender and wise Suk Suk, it’s that it could actually benefit from going a bit longer. The film leaves us in a semi-cliffhanger, which is effective and evocative in its own right. But I think in this instance the great character development warrants a next step, and audiences probably wouldn’t mind spending some minutes more with their new favorite guncles.