| Cast overview, first billed only: | |||
| Yann Yann Yeo | ... | ||
| Tian Wen Chen | ... |
Teck
(as Tianwen Chen)
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| Angeli Bayani | ... | ||
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Jia Ler Koh | ... | |
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Peter Wee | ... |
Discipline Master
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Jo Kukathas | ... |
School Principal
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Naomi Toh | ... |
English Teacher (Mrs Ong)
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Stephanie Kiong | ... |
Teacher
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Jia Min Chantel Teo | ... |
Teacher
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Zhi Fang Xu | ... |
Teacher
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Sea Moi Lee | ... |
Teacher
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James Ng | ... |
Teacher
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Sook Fen Wong | ... |
Teacher
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Siow Phing Tan | ... |
Teacher
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| Aizuddiin Nasser | ... |
Teacher
(as Muhd Aizuddin Bin Nasser)
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Set in Singapore, Ilo Ilo chronicles the relationship between the Lim family and their newly arrived maid, Teresa. Like many other Filipino women, she has come to this city in search of a better life. Her presence in the family worsens their already strained relationship. Jiale, the young and troublesome son, starts to form a unique bond with Teresa, who soon becomes an unspoken part of the family. This is 1997 and the Asian Financial Crisis is beginning to be felt in the region... Written by anonymous
ILO ILO is a breath of fresh air in the complex, exciting world of Asian cinema. I hadn't seen any films before dealing with Singaporean society so I was looking forward to watching this one and I wasn't disappointed. ILO ILO is a beautifully shot, beautifully acted family drama and I find it hard to believe that the director was only in his 20s when he made this. What a talent!
The story is a small-scale one designed to highlight the melting pot of cultures and identities that co-exist in the city state. The main character is a Filipino maid who comes to look after the spoilt son of a Chinese family living in Singapore. Initially the boy hates her, but gradually the maid becomes a part of the family. However, the recession blighting the country during the late 1990s is a cloud that looms on the horizon.
ILO ILO is very good at putting across a sense of time and place and I particularly enjoyed the backdrop of financial difficulty in which job loss, quiet desperation, and even suicide are themes. What keeps you watching though are the expertly-drawn characters who are brought to life through sparse dialogue. The maid is a thoroughly sympathetic protagonist, but the real delight is child actor Jia Ler Koh; I really appreciate films where you initially hate a character but end up loving them and that's the case here. I'm not a huge fan of art-house cinema but this is a film I can recommend to all.