All Shall Be Well

Angie and Pat have lived together for 30 years in a nice apartment in one of Hong Kong's better neighborhoods. They have worked their way up and, as a now well-off lesbian couple, were eventually able to buy the apartment. Now they are in their 60s and enjoying life. Pat's family comes to visit on public holidays. They eat, laugh and celebrate. Yes, it looks as if Pat's family has long since accepted Angie as a member of the family. When Pat dies unexpectedly during the night, Angie is supported not only by her friends, but also by Pat's family. But little by little, economic considerations creep in: all the members of Pat's family are in a pretty bad financial position, "it's probably fair to point out that the deceased Pat is registered as the sole owner of the apartment" - and where there's biological family, there's biological family... As it turns out, Angie has no legal right to stay in the apartment. What follows is a gradual, deeply painful alienation, from which, however, an irrepressible desire for liberation emerges - not least because of the solidarity Angie encounters in her circle of friends.

As in Suk Suk, Ray Yeung observes another aspect of the often precarious everyday life of (older) queer communities in Hong Kong with fine precision. With the character of Angie, he has created a quiet, very, very charismatic lesbian heroine - not least thanks to Patra Au Ga-man's enchanting performance.