Once again, Portuguese auteur Miguel Gomes delivers a film in which the most complex sophistication coexists with innocence and charm. It is at once very worldly and yet unworldly – in fact almost childlike at times. It is elegant, eccentric and needs some time to be indulged. The British characters are played by Portuguese actors speaking Portuguese, except for a few rousing choruses of the Eton Boating Song, which is in English. (There is more literal casting for other nationalities.) And yes, it is six parts beguiling to one part exasperating. But quite unlike any other film in the Cannes competition, it leaves you with a gentle, bemused smile on your face.
The story, co-written by Gomes, could be adapted from something by Somerset Maugham, but is in fact an original screenplay. (I was also reminded of Jane Gardam’s colonial novels or Evelyn Waugh.) In colonial Burma during the first world war, Edward (Gonçalo Waddington) is a minor British functionary in Rangoon, unhappily waiting for the arrival of the London boat, on which is the woman to whom he has for seven years been engaged: Molly (Crista Alfaiate). But Edward gets cold feet and before Molly arrives, he flees to Singapore, where he runs into his fiance’s rackety cousin in the bar of the Raffles hotel, and allows this seedy and excitable man to believe that his own extraordinary, furtive behaviour has something to do with spying.
Living like a hobo, Edward goes on to Bangkok, Saigon, Manila and Osaka, from where he is expelled by Japanese authorities for his suspected connection with US naval intelligence. Then he goes to Shanghai, Chongqing and Tibet where he sees pandas in the trees and meets an opium-addicted British consul who tells him the empire is finished and that westerners will never understand the oriental mind. But the formidable Molly is hot on his trail and not to be deterred.
