Since her last film, Lee has done mostly small-screen work — directing, among other things, the 2022 Disney+ series “Women in Taipei” — and if a certain televisual strain of melodrama occasional creeps into “To Be Ordinary,” the film’s sturdy formal restraint and expansive story scope should still serve it well in cinemas. Following its premiere as the only Taiwanese production in Busan’s main competition, the film will play at the Tokyo Film Festival later this month, opening theatrically in Taiwan in mid-November. Further festival play is likely, particularly in Asian-focused programs, and the film is accessible and moving enough for limited global distribution, though specialist streaming platforms may be its best bet.
Thoughtful, closely-knit ensemble playing keeps the family dynamic believable even when the script takes a few convenient short cuts: Chen is especially affecting and volatile as a young woman growing up both as a kind of afterthought, and as a support system to her flailing parents. Lee directs proceedings with a handsome sobriety that befits the material, though between the persistently overcast visuals and the solemnly emotive writing, “To Be Ordinary” could stand an occasional injection of tonal surprise — an acknowledgement of the absurdity, hilarity or small domestic joys that sometimes disrupt hard times. Still, the film is never glib or unconsidered. There’s unassuming beauty in its even-handed, fair-minded worldview, and the space it gives its characters to reckon with sorrow, and find their own way out of it.
