In 2020, acclaimed director Ray Yeung attended a talk on the inheritance rights of LGBTQ couples in Hong Kong, where he heard the stories of three lesbian couples who lost everything after the death of their partners and faced strained relationships with the families of the deceased.
“These stories hold a unique significance. While they have rarely been discussed, they delve into Hong Kong’s perspectives on same-sex marriage, LGBTQ rights, and the definition of family,” remarked the director, best known for his 2020 award-winning film Suk Suk which depicts a forbidden love story between two closeted married men in their twilight years.
Intrigued, Yeung interviewed the surviving partners and other same-sex couples who had been in long-term relationships. He discovered a common trend: many had not made a will, nor had they legally married overseas.
As a result, these couples could face the unfortunate consequence of being unable to inherit property and money from their deceased partner’s estate; it would instead go to the deceased’s family, often leading to disputes.
These true stories sparked the creation of his movie, All Shall Be Well.
Released earlier this month, the film portrays the lives of a female couple in Hong Kong who have been in a committed relationship for over 40 years, seemingly with the support of their families.
However, when one partner passes away unexpectedly, the surviving one finds herself faced with the challenge of preserving her dignity and the home they shared for decades. The family of the deceased exploits the couple’s lack of legal rights, taking advantage of the fact that same-sex marriage is not recognised in Hong Kong.
According to Yeung, this sequence of events represents how people react differently to female same-sex couples than male ones. “There seems to be greater social acceptance for women ... their relationships are often perceived as ‘sisterly’ or close friendships,” said the director. “However, this acceptance is shallow, to the extent that if anything were to happen, those relationships would quickly dissolve.”
The heart-wrenching movie won the Teddy Award at this year’s Berlin International Film Festival, a renowned honour for LGBTQ films worldwide.
The writer-director expressed his gratitude for the award, saying it was difficult for LGBTQ films to stand out without recognition. “The award proves this is a quality production.”
What makes a family
The legal rights of the LGBTQ community have become the talk of the town in the last few years. Hong Kong has recently seen several court cases ruled in favour of the rights of same-sex couples who married overseas to access public housing as well as spousal inheritance.
“Many court cases and verdicts have been in favour of LGBTQ individuals ... The government has not been proactive in taking action for the community. Instead, people have to sue them [to make progress], and even after court orders have been issued, officials still have not taken action,” the director said.
Yeung spent four years producing the film. Its Chinese title translates to “from now on” in English and is derived from marriage vows, a tongue-in-cheek reference to Hong Kong’s lack of same-sex marriage laws.
While the film centres around LGBTQ couples, it also delves into a broader topic – family.
One of the director’s favourite scenes is when two characters reunite towards the end of the movie and talk about who they truly see as their family.
“Is family defined by blood relations or the years spent together?” the director asked. “In Chinese movies, the notion of family is often elevated to a prominent position. Many films conclude with scenes portraying the entire family gathering for dinner, making it a utopia. However, that is not [always] the case.”
He emphasised the importance of realistic representations of family dynamics in movies: “If we avoid discussing the complexities, it can create an illusion [of an idealised family] for the audience ... The world is not perfect, and movies should address the issues.”
Positive shift in attitudes
Since Yeung took over running the Hong Kong Gay and Lesbian Film Festival, held every September, in 2000, the filmmaker has observed a positive shift in societal attitudes towards the LGBTQ community, especially with the legalisation of gay marriage in places like Taiwan and Nepal. But coming out in Hong Kong is still a challenging experience.
“Sometimes young people might joke about someone being gay or lesbian without intending it to be homophobic. These careless words contribute to a hostile environment that can deter individuals from coming out,” said the director.
“We need to create an environment where people don’t have to worry about being outcasts, degraded, or rejected for being true to themselves.”
Yeung believes LGBTQ movies could play a crucial role in changing mindsets and letting people know they are not alone.
“If we have more narratives, people can become more accustomed to ... LGBTQ experiences. It is crucial to enhance the visibility and passionate expression of the community.”
Yeung recounted an impactful encounter during a movie screening with a female audience member who approached him and said, “I have been waiting for this movie for 30 years.”
“My partner and I have been together for many years ... I felt invisible in society, and I never expected that our lives would be portrayed on the silver screen, with someone truthfully depicting our experiences to the audience,” the director recalled the woman saying.
“That [conversation] was emotional,” Yeung said. “Seeing your story presented on the screen and witnessing that nobody feels uncomfortable or leaves the room gives a profound sense of acceptance, especially for those who have repressed and hidden themselves for many years.”
