Cherries aren’t the first fruit that come to mind when watching “No. 7 Cherry Lane.” In an entirely welcome way, veteran Hong Kong auteur Yonfan’s first film in a decade (as well as his first foray into feature animation) can better be described as a bowl of bright, aromatic and very, very ripe bananas. As entrancingly singular as it is steeped in pastiche, this frequently dream-distracted vision of young love against the turmoil of the 1967 Hong Kong riots practically defies critics not to resort to that hoarily overused term “valentine to cinema”: If a film containing no fewer than three lengthy cartoon reenactments of Simone Signoret classics doesn’t merit it, what does? Many will be left bewildered by the sheer, deranged obsessiveness of Yonfan’s nostalgia head-trip — indeed, there were whistles and walkouts at its first Venice press screening — but accustomed Yon-fans and patient adventurers will fall madly for its madness.
- 9/2/2019
- by Guy Lodge
- Variety Film + TV
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