Heaven, an ironically delightful funeral film

By Lee Hyo-won

The word “tragicomedy” rings a paradox ― but more often than not there are times when you wonder whether to laugh or to cry, or both.

“Seven Days in Heaven,” a Taiwanese film that competed in the Asian Competition section of the 4th Cinema Digital Seoul (CinDi), captures those moments of intense ambivalence, when the pain of loss is numbed by the ridiculousness of ceremony.

The yoking together of contrary ideas here results in an ironically pleasant, somewhat discordant harmony in which hushed emotions and a subdued, dark charm glimmer through the roaring drama and jest.

“Heaven” provides a mature, distanced observation of traditional funerary rites in the Taiwanese countryside. While the digitally shot film may not possess the edge of funerary satires like “Big Shot’s Wedding,” it provides something different from the usual batch of sugary teen romances that are imported from Taiwan. It should do well at home, where it is due for release this week, and the bountiful slice of local culture it provides will also ensure niche audiences at film festivals abroad.

When Lin Guo-yuan dies, his family and friends see to the traditional week-long mourning ritual. For daughter Mei, a businesswoman who has found success in the big city, having to suddenly bid her father farewell is overwhelming to say the least, particularly since it is accompanied by dizzying funerary rituals and the countercultural shock of returning to rustic life.

All the action, pomp and circumstance of ceremony are observed by a Taoist monk and his girlfriend, who run an entertainment-cum-funeral business ― a strange combination at first blush, but mourning-by-the-hour isn’t any less professionally demanding than pulling a gig onstage.

Another sideline story pairs the monk with his ex-lover’s son, a college kid from the city, and the audience ― in Korea and elsewhere ― can easily relate to the cross-generational dialogue and understanding established between traditional and modern, rural and urban, values.

The film portrays the ridiculousness of certain customs ― delightfully rendered through shaky digital handheld camerawork ― but at the same time it doesn’t ridicule them altogether. After great pain, rituals often help the feet move mechanically while feeling the presence of the deceased (thus the title, “Seven Days in Heaven”).

The palpable realization of loss is bound to set in when you least expect it. Mei may be the main protagonist but the film pays equal attention to other characters, showing all the different ways people deal with death, each one valid and entitled. It is through the montage of characters’ memories that we learn about Lin, and truly sympathize with those who survived him.

The film can be summed up in its striking use of “Hava Nagila.” Featuring an Israeli wedding folksong that means “let’s rejoice” may seem inappropriate, particularly since “Heaven” is no black comedy, and the father-daughter relationship was a healthy and loving one.

Rather, a comparison can be made with “Chukje” by Korea’s master director Im Kwon-taek. The title, meaning “festival,” was apt at showing how a funeral can be an occasion to honor beloved memories of the deceased, and moreover, to celebrate life.

“Heaven” is based on an essay by popular writer Essay Liu in which she draws from her own experience of parting with her father. Liu co-directed the film adaptation with Wang Yu-lin. The filmmakers met with the Korean audience for a Q&A session, Monday, during the festival in Seoul, and impressed the crowd by appearing in ``hanbok'' (traditional Korean costume). The Korean audience expressed avid interest in the work and the Taiwanese culture as portrayed in the film, particularly noting the touching father-daughter bond.