Cinema Escapist

In Valley of the Shadow of Death, up-and-coming Hong Kong directors Jeffrey Lam and Antonio Tam pose a profound question: can a pastor (Anthony Wong) set aside his personal feelings to forgive the man who murdered his daughter? While the film begins with this compelling and courageous premise, it ultimately falters, failing to deliver a satisfying exploration of its complex themes and leaving its potential largely unfulfilled.

The film’s central conflict—pitting a man’s faith against his personal grief—is its greatest strength. The script, which originated from Tam’s graduation project, draws on both directors’ Christian upbringings to create a fascinating scenario. While Hong Kong is not a predominantly Christian society—with government statistics showing only 14% of the population identifying as Protestant and 5% as Catholic—the theme of forgiveness is universal. By framing this timeless question within the unique context of a pastor’s crisis of faith, the film generates significant intrigue.

However, the narrative loses its focus following a major plot twist: the revelation that the pastor’s daughter had bullied her murderer. Instead of deepening the moral dilemma, this development muddies the waters. The directors seem to struggle with the aftermath, adopting a narrative neutrality that feels more like evasion than thoughtful ambiguity. As a result, the film leaves its initial, powerful question—”Who has the right to forgive?”—unexplored. The script offers no insight into the daughter’s motivations for bullying, which unfortunately shifts a degree of blame onto the victim without proper justification.

The film’s attempt to tackle numerous heavy topics—including bullying, suicide, and abortion—further dilutes its narrative clarity within a brief 90-minute runtime. These issues are tragically relevant in Hong Kong, where 32.3% of students report being bullied and the city recorded 1,138 suicides last year, the highest figure since 2003. Yet, by treating these profound social problems as mere plot devices, the film does a disservice to the serious attention they demand.

Powerful performances and technical craftsmanship elevate the film despite its narrative shortcomings. Louisa So is heartbreakingly convincing as the grieving mother, while Anthony Wong, no stranger to playing gruff characters, masterfully conveys Pastor Leung’s inner turmoil. Pop star and actor George Au also shows significant potential in his role. Furthermore, cinematographer Wong Shek Keung Leo’s dark, heavy visuals and a foreboding score from Hatano Yusuke effectively enhance the film’s somber tone.

Valley of the Shadow of Death is a film that shows promise, and it builds upon a premise that represents the kind of bold storytelling Hong Kong cinema needs. It is frustrating, then, that what begins as a brave theological drama devolves into a conventional and unresolved tale of tragedy. While Lam and Tam are clearly directors to watch, Valley of the Shadow of Death stands as a missed opportunity to fully confront the profound questions it poses.

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Valley of the Shadow of Death (Chinese: 不赦之罪)—Hong Kong. Dialog in Cantonese. Directed by Jeffrey Lam, Antonio Tam. First released on October 31 at the 2024 Tokyo International Film Festival. Running time 1hr 26mins. Starring Anthony Wong, Louisa So, George Au, Sheena Chan, Summer Chan.