Journalist Don Ng's first feature film, No Time for Goodbye, arrives in UK cinemas with noble ambitions, aiming to shed light on the isolating experience of seeking asylum in Britain. While the drama offers moments of genuine insight, critics argue it is ultimately undermined by a sentimental and superficial approach.
A Sensitive Performance Anchors a London Story
The film is set in London and follows Bosco, portrayed with sensitivity by Yiu-Sing Lam. He has fled Hong Kong following the government's crackdown on political freedom, though the specifics of his past remain largely unspoken. Upon arrival, Bosco is placed in temporary accommodation on a military base alongside other asylum seekers, awaiting the outcome of his application.
Some of the film's most effective scenes are quiet observations of Bosco's dislocation. The narrative captures his tentative exploration of a new world, such as wandering the aisles of a local corner shop filled with unfamiliar foods. This visual storytelling effectively conveys the profound sense of alienation that can define the asylum experience.
Unexplored Narratives and Muddled Plotlines
The central plot develops when Bosco meets Yasmin, played by Tsz Wing Kitty Yu, at a bus stop. Yasmin is also an asylum seeker, writing letters to her boyfriend, a student doctor imprisoned in Hong Kong for aiding anti-government protesters. A tentative friendship blossoms, with Bosco clearly hoping for something deeper.
However, the screenplay, also written by Ng, is criticised for raising significant issues without delving into them. Bosco takes a cash-in-hand job at a car wash, but the depiction lacks any critical exploration of potential exploitation or unsafe conditions common in such informal work. The film also introduces a subplot where a fellow asylum seeker faces the threat of deportation to Rwanda, and another involving a young British man radicalised by a far-right anti-immigration group.
These elements feel muddled and contrived, as if checking boxes rather than providing coherent commentary. Reviewers suggest a more rigorous script edit could have woven these threads into a more powerful and rewarding social drama.
Good Intentions, Unfulfilled Potential
No Time for Goodbye is undoubtedly a film made with the best intentions, and it succeeds in highlighting the loneliness and bureaucratic limbo faced by those seeking sanctuary. The performances, particularly from Lam, bring a needed humanity to the screen.
Yet, the overall execution is deemed too sentimental to function as convincing social realism. The film's tendency towards superficial treatment of its complex themes prevents it from delivering the impactful drama its subject matter deserves. For a debut from a journalist-turned-director, it shows promise but ultimately feels like a missed opportunity to provide deeper answers to the difficult questions it poses.
The film is scheduled for release in UK cinemas from 1 January.
