A24 A-to-Z: #86 - "The Farewell" (2019)

Scene from The Farewell

In case you didn't know, A24 is one of the great purveyors of modern cinema. Since 2013, the studio has found a way to innovate independent cinema by turning each release into an event. As a result, A24 A-to-Z will be an ongoing series that looks at every release from the studio by analyzing its production history, release, criticisms, and any awards attention that it might've received. Join me on a quest to explore the modern heroes of cinema by exploring every hit and miss that comes with that magnificent logo. They may not all be great, but they more than make A24 what it is and what it will hopefully continue to be for years to come. 

The Farewell

Released: August 9, 2019

Release Number: 86

Directed By: Lulu Wang

Starring: Shuzhen Zhao, Awkwafina, X Mayo

Plot: A Chinese family discovers their grandmother has only a short while left to live and decide to keep her in the dark, scheduling a wedding to gather before she dies.

The summer of 2019 was proving to be one of A24's greatest years on record. From cult dramas like Under the Silver Lake to thought-provoking commentaries like The Last Black Man in San Francisco, the studio had proven to have a little bit of something for everyone. The ability to capture audiences has been their bread and butter but rarely had it felt like so many opportunities to see them dominate the awards season, giving auteurs platforms to tell personal and heartwarming stories. Few seemed as deserving of this honor quite like The Farewell, which became their first PG-rated film, and one that sought to explore the boundaries between Chinese and American identity. What they came up with was a drama that spoke universally to audiences, making them appreciate family and seek to expand the type of stories that could be told. What it lacked in Oscar success it more than made up for as one of A24's most acclaimed and revered titles not only of that year, but in their entire run.

The story begins with director Lulu Wang's personal struggle to make The Farewell. Following her film Posthumous, she decided to make a film that centered around her own Nai Nai's battle with stage IV cancer. She became curious to explore it from a very specific perspective. As a Chinese-American, she always battled with feeling comfortable in more camps. She claimed that she saw more of the style of filmmaking she wanted to do in Woody Allen than Wong Kar-Wai, finding interest in these human dramas that unfolded in conversations through long takes and very vulnerable exchanges. She sought to make something personal, asking what it meant to be an American, especially in relation to Billi's story of feeling displaced from her extended family.

The crux of the story was mostly accurate, including the idea of planning a wedding to form a get-together with Nai Nai. The fear of death would be consumed in every detail, including various omens (such as bird and pop culture references) that would allude to the potential fear of losing Nai Nai. It was supposed to be a moment to celebrate, but how does one do that when so much fear lies inside of them? If you talk to Wang, she didn't keep the film away from her Nai Nai, but chose to be cryptic about it in order to save her concern. It would later become a spoiler that she was still alive, if just because it provided an unexpected optimism towards the end of the film.

Though financing proved to be the biggest obstacle. Wang wanted the film to be authentic in its portrayal of Chinese cultures, such as having a cast that spoke 70% of their dialogue in Mandarin. After striking out with American financiers, she went to Chinese investors and found similar problems. While Shuzhen Zhao was a popular actress in China, there was still a concern of getting the film produced. They needed a white perspective, which Wang was against. She contemplated shelving the project until she was offered to tell a story on This American Life called "What You Don't Know." Upon hearing the story, Chris Weitz signed on, giving her an advantage.

The casting was just as fraught. Because of Zhao's popularity in China, her salary had to be negotiated despite never starring in an American film. There was also major bidding over distribution that included a battle between Netflix and A24. Then there was Awkwafina, who was coming off of a successful 2018. Having starred in Ocean's 8 and Crazy Rich Asians, she was considered a trendsetter. Wang initially rejected the offer before discovering that she was part-Chinese and was self-taught in Mandarin. She also claimed that she was had a personal connection to the story. 

The film was shot in Changchun, China, and New York. The most interesting part of the shoot came in the real-life Nai Nai's visits. She would be there observing the filming but lacked context for what these conversations meant. She lived in China and wouldn't find out about the film until it was released with newspaper ads for a film called Don't Tell Her. This was in part because Wang believed that Nai Nai was approaching the end of her life and wouldn't be around upon the film's release. It was a happy mistake when she wasn't, eventually growing surprised when the bigger story was given context. Wang also personally played piano on the score.

The film was one of a few A24 titles that would play at 2019's Sundance Film Festival. It played in The U.S. Dramatic Competition and would eventually earn a $7 million distribution rights by A24. Along with a fully Mandarin-subtitled version of the film, it would be released with a plan to have it boosted by word of mouth. This turned out to work pretty well, as its limited release caused it to premiere in four theaters with the highest per-screen average of the year, beating out Avengers: Endgame. In total, it grossed $22.5 million internationally and became one of the studio's most successful movies. 

Because of its unique approach to the subject matter, the film was praised for how it mixed in comedy with the dramatic components, causing people to call for more Asian American stories to be told. Similarly, it was a celebration of grandmothers and the binding feeling of love even when feeling displaced in your own goals. During this time, it caused many to push for several awards contention, especially around Zhao and Awkwafina. There was also a big push to get it into the Best Picture race at the Oscars. Following a Golden Globes push that got Awkwafina a Best Actress in a Comedy or Musical, there was the belief that she could become one of the few Chinese-American actresses to be nominated for an Oscar. It was also during the press interviews for this ceremony that Wang revealed that her Nai Nai had yet to see the film. When the Oscars failed to nominate the film, it was considered to be snubbed and reflected a lack of acceptance of diversity that included ignoring films like The Farewell and Hustlers as female-driven stories. 

Though if one was to look at the rest of The Farewell's 2019, it was actually fairly successful both at the box office as well as with critics. Appearing on many end of the year best lists, the film did very well on critics aggregate website Rotten Tomatoes. Earning an impressive 98%, it proved to be one of the most acclaimed movies of the year. Matt Cipolla of Film Monthly lead the positive reviews when claiming "It's about watching, about waiting. It's when it's at its most natural that The Farewell connects the inside and the outside with an honesty that's hard to resist." Shikhar Verma of High on Films agreed when stating "The Farewell becomes a gentle, universal plea that showcases all the perks and drawbacks of having a family." The few who disagreed included Ben Sachs of Chicago Reader, who claimed "What follows is a series of hackneyed scenes about the different interpersonal relationships within the family, centering on the heroine's bond with her grandmother." No matter what, the film ended up being one of A24's most beloved films.

The Farewell was another example of how the studio knew how to tell personal stories in new and evocative ways. With incredible performances and a touching story, they found a way to create a film that spoke beyond its language, appealing to everyone who has a personal connection to their family. It was also the end to an impressive summer run that featured so many worthy awards contenders and helped to launch Awkwafina into a serious actress. Up next would be a film that played a similar card regarding awards season. However, whereas every title before was vying for an Oscar, this adaptation would be from an Oscar-winning short of the same name. Was Skin destined to be another hit for the studio, or just another random piece up filler?

Up Next: Skin (2019)