We are delighted to be partnering with Dublin International Film Festival (DIFF) once again and working with the Silver Screen Critics as they comment on this year’s programme. In this article, the critics give their thoughts on The Way We Talk.
Norma Farley Bodie
The Way We Talk is one of those films that delivers far more than you would ever expect. Talk about sleepers! This is a film with hidden powers to draw you in — thanks to its brilliantly written script, which has an authentic coming-of-age story to tell. It’s an emotional tale about the barriers faced by a group of deaf youths, as they find their way in the ‘hearing’ world. And for those of us who take the sense of hearing for granted, it also enlightens.
Set in contemporary Hong Kong, the film follows three bright young adult friends who are all deaf — but who possess very different personalities in facing their futures.
Alan is the gregarious, upbeat friend who is fluent in lipreading, spoken and sign language, and benefits from a cochlear implant (CI). His childhood friend Wolf is cultishly devoted to sign language, resisting all other forms of hearing-impaired communication — thus limiting his options. Sophie comes into the picture as one of the co-ambassadors for cochlear implant surgeries, the other ambassador being Alan. Sophie has been brought up to rely strictly on using her cochlear implant to hear and speak. She has been forbidden to use sign language.
The film initially focuses on their differing approaches to communicating with the hearing world — as well as with their own deaf community. But the real story is how they overcome the impediments and prejudice they meet along the way to achieve their career goals and eventually find their true selves in the process.
In sync with what’s happening on screen, the soundscape alternates between deafening silence and a ‘normal’ soundscape when the CIs are plugged in — often punctuated by the calming sounds of sea waves in scenes where Wolf goes deep sea diving, his passion.
The film was directed by Adam Wong Sau-Ping and stars hearing actors Neo Yau as Wolf and Chung Suet Ying as Sophie (who both learned sign language for the film), along with deaf actor Marco Tsz Ho Ng as Alan. Outstanding performances by all.
A true moment of beauty of the film was in Alan and Wolf teaching Sophie the art of sign language. It wraps up with a montage showing how each of them has achieved their dreams — with Sophie proclaiming loud and clear (in sign language): “If I can choose, I choose tranquillity with my hands to freely express.” Cue susurration — the whispering sound sea waves make when they reach the shore.
Postscript for the hearing community: Whenever there is a sign language interpreter involved in film or TV productions, focus your eyes on the interpreter’s hands — truly poetry in hand motions!
Lorna Cady
Three young 20-somethings struggle to survive in today’s Hong Kong. All are deaf, but each has their own way of dealing with this. The film has subtitles in English and Chinese. This excellent addition means deaf Chinese people who cannot lip-read can follow the dialogue of the film.
The leading characters are played by Neo Yau (a hearing actor) as Wolf, who favours any methods to communicate; Chung Suet Ying (a hearing actress) as Sophie, who has cochlear implants and would like to sign; and Marco Tsz Ho Ng (a deaf actor) as Alan, who signs. There is a magnificent friendship and support between the three of them.
In flashbacks to the early school days of Wolf and Alan, where the class of deaf children are being taught to speak to ‘make them fit in society better’ and signing is strictly frowned upon, Wolf is always in trouble for signing. It is somehow reminiscent of how left-handed children were treated in school in the past.
The three of them are bright and intelligent. Sophie would like to be an actuary. Wolf is a very keen swimmer and diver, but is devastated when he cannot be assessed as there is no signing examiner to be had in the organisation.
The film explores how cochlear implants – an electronic device implanted in the ear that is in many ways considered the crème de la crème of ‘deaf cures’ – can be ruined in sporting activities, particularly diving and swimming, but also vigorous sports like rugby where the head may be shaken about.
Overall, The Way We Talk is a wonderful insight into the world of deafness and the internal battles with children, families and teachers who can have such strong feelings on which is the right way to go about the situation. Their intentions are basically good, in that concerned parents, for example, want their child to be ‘normal’ and to speak without a ‘deaf accent’, and not need to draw attention to their disability.
In reality, the answer can lie in many directions. The film is a very thought-provoking piece on how deaf children and adults have had to overcome the challenge of how best to optimise their lives within the world of deafness itself.
The Way We Talk screened at DIFF on 2nd March 2025.
For 11 unforgettable days in February, Dublin transforms into a vibrant hub of cinematic excellence as the Dublin International Film Festival (DIFF) brings the best of Irish and international cinema to the capital in a celebration of storytelling. The festival welcomes lovers of film, dreamers, and curious newcomers alike.
From world premieres to intimate screenings, exclusive Q&As to parties and celebrations, DIFF offers a unique journey into the world of cinema — all set against the buzz and energy of the Irish capital. It’s a contemporary cinema experience that connects communities, ignites ideas, and inspires a lasting love for film throughout the year.
Read more about the work they do here or submit your film here.
