Yi sa bui lai Blu-ray Review

MegaStar Video Distribution brings "Yi sa bui lai" to Blu-ray with a 1080p transfer, encoded using the AVC codec and presented in its original 2.35:1 aspect ratio. This release is region coded A/B, making it accessible to both UK and US audiences. The visual presentation aligns with the quintessential style of Hong Kong cinema, featuring gritty textures and atmospheric lighting that encapsulate the essence of the film's setting.

The image quality varies throughout, with interior shots offering a range from crisper details to softer focus depending on lighting conditions. Artistic elements are evident, such as shooting through objects and using split focus, which can introduce some inconsistency in sharpness across the frame. While skin tones remain consistent even under the harsh glow of neon and fluorescent lighting, the overall palette leans towards greenish hues supplemented by bright yellow and blue tones in night scenes.

Despite some minor flaws, including mild edge enhancement, occasional digital noise, and noticeable flecks, the presentation fares well overall. Unlike some softer transfers from similar genre films, this Blu-ray exhibits commendable detail and contrast in brighter scenes. Macroblocking isn't an issue here, and while some inconsistencies are evident, the high-definition transfer ultimately delivers a satisfactory visual experience, especially when viewed on a larger display.

The Blu-ray disc of "Yi sa bui lai" offers three audio tracks: Cantonese Dolby TrueHD 7.1, Cantonese Dolby Digital 5.1, and Mandarin Dolby Digital 5.1. Our analysis focuses primarily on the lossless TrueHD 7.1 option. This track delivers a nuanced audio experience, although it is not designed to push high-end audio systems to their limits. The movie's subtle, restrained sound design, akin to a Beat Takeshi film, heightens the emotional impact through minimalistic use of quiet stretches and pauses.

Dialogues rendered through the center channel have a rich, clear tonality, making them exceptionally easy to follow even for non-native speakers. The rear channels see limited but competent use, handling occasional ambient sounds and sparse action sequences efficiently. While bass is tight and well-integrated, it is sparingly employed. The star of the audio track is undoubtedly Peter Kam’s musical score. The TrueHD 7.1 track beautifully balances the gentle plucking of guitar strings with the crisp high frequencies of piano solos, making it a highly rewarding auditory experience.

Comparably, the Cantonese Dolby Digital 5.1 and Mandarin Dolby Digital 5.1 tracks fall short in depth and fluidity. The Dolby Digital 5.1 tracks lack the richness and clarity found in the TrueHD 7.1 option. This difference is most evident in musical scenes, such as the Portuguese song at the film's end. Both digital tracks maintain clear dialogue without distortion. Moreover, MegaStar includes optional subtitles in Simplified Chinese, Traditional Chinese, and English, embedded within the image frame to ensure no loss of visual aesthetics.

The Blu-ray extras for "Yi sa bui lai" provide extensive behind-the-scenes content, albeit largely inaccessible to non-Chinese speaking audiences due to a lack of English subtitles. These extras include a theatrical trailer in high definition, a 14-minute "Making of" featurette in standard definition with raw footage and interviews, three deleted scenes, and an interview with actress Isabella Leong. Additionally, it offers three distinct audio commentary tracks featuring key contributors such as actor Chapman To, director Pang Ho-Cheung, and others, offering deep insights into the production process. While the material is comprehensive, the absence of subtitles significantly diminishes its value for non-Chinese viewers. Yet, the inclusion of multiple commentary tracks might still engage enthusiasts interested in film production details.

Extras included in this disc:

Trailer: The original theatrical trailer for the film.

Making of: A featurette with raw shooting footage and interviews.

Deleted scenes: Three scenes featuring Shing at different locations.

Isabella Leong interview: An interview with the actress.

Audio Commentaries: Three tracks involving actors, director, composer, and screenwriters.

Pang Ho-Cheung's "Isabella" is a masterclass in filmmaking—a subtle and emotionally nuanced piece that sways effortlessly from dark beginnings to tender familial moments. The film is both fluid and finely paced, capturing rich drama and understated tension in every frame. This narrative elegance has rightly earned it critical acclaim, including the prestigious Silver Berlin Bear for Best Music at the 2007 Berlin International Film Festival. The film’s storyline centers on a complex father-daughter relationship, unfolding against the politically charged backdrop of Macau in 1999 as it prepares to reunite with China.

The plot follows the journey of Ma Chen-shing (Chapman To), a corrupted cop whose encounter with Cheung Bik-yan (Isabella Leong) leads to the shocking revelation that she is his daughter. Their initially transactional relationship evolves into a desperate quest to find Cheung's missing puppy, Isabella, injecting a humane element into the backdrop of Ma's compromised life. This journey of rediscovery allows the film to explore the emotional layers and backstories of its characters meaningfully. The girl’s past involves coping with the loss of her mother while covertly following her estranged father.

Technically, "Isabella" is a visual feast, thanks to Charlie Lam's exceptional cinematography. The camera work opts for a voyeuristic distance, enhancing the movie's emotional depth and moodiness. The editing by Li Wenders seamlessly synchronizes with the film's tone, ensuring a captivating narrative flow. The soundtrack is another highlight, blending traditional Portuguese and contemporary Asian music to enrich the viewing experience. Chapman To and Isabella Leong deliver heartfelt performances that elevate the film's dramatic stakes. The supporting roles, although minor, add to the layered storytelling that Pang Ho-Cheung meticulously crafts.

In summary, "Isabella" is a moody yet beautiful film with remarkable technical achievements and performances. Its profound exploration of familial bonds set against sociopolitical transitions cements Pang Ho-Cheung’s place among notable Eastern filmmakers.

The Blu-ray release of "Yi sa bui lai" ("Isabella") by MegaStar offers a technically sound and engaging experience for fans of nuanced, atmospheric cinema. Although the image quality demonstrates occasional inconsistencies typical of low-budget Chinese films, the visual presentation remains satisfactory and reveals the director's artistic intent without significant distractions. The HD transfer provides adequate color balance and contrast, which do justice to the film’s aesthetic qualities.

Audio-wise, the disc excels in capturing the director's flair for punctuating silent moments with clear, well-articulated dialogue. The audio track, coupled with Peter Kam's exquisite compositions, immerses viewers, enhancing the film's evocative atmosphere. The soundtrack effectively highlights both subtle and dramatic scenes, crafting an overall compelling auditory experience. However, it is important to note that the supplemental features lack English subtitles, potentially limiting their accessibility to non-Chinese speakers.

Despite these minor caveats, the disc fulfills its primary purpose: delivering a seamless viewing experience of Pang Ho-Cheung's evocative narrative. The combination of visual and auditory elements pays homage to the film’s moody, contemplative atmosphere comparable to the works of Wong Kar Wai. If you are drawn to atmospheric storytelling with a stylistic edge, this Blu-ray edition of "Isabella" is a worthy addition to your collection.

The disc itself is perhaps less dazzling but it succeeds in its job of allowing viewers to see the film without any major distractions. The image is a tad inconsistent, but no more than most other low-budget Chinese films. The audio does a similarly satisfactory job, punctuating the long moments of silence with clear dialogue and allowing Peter Kam's exquisite compositions to breathe. The extras may not please those without the skill of understanding Chinese but that is a risk of importing a Hong Kong disc and one for which I can't justify marking down significantly. If you haven't seen "Isabella" and wonder if the comparisons to the works of Wong Kar Wai are applicable, then I recommend you take the time to check this film out and decide for yourself - it was enough to convince me.