From Asian latitudes, Chinese director Wang Xiaoshuai serves serious family drama with the classic father figure at the center. Although heavy on symbols, it is coolly performed, well played and a whole that feels magnificently composed.

The points of contact are many and emotional as Father Lin returns to the family he once abandoned. His son has died in a hostage drama and the loose ends of the past are exacting their toll.

Absent fathers, also known as the ultimate pigs, have long been a constant companion. It seems we all suffer from the loss that only an absent father's embrace can cause and the question looms, are all fathers pigs? The setup here is already clear and rather it is about a human exploration in the art of abandonment.

In this way, Chongqing Blues is far from an innovative film, possibly more sigh-inducingly boring. But despite many prejudices, this is a beautiful film, not only on the surface but also in content. Admittedly heavy on symbols where Xiaoshuai seems to want us to read way too much into a look, movement or thing, bordering on sentimentally careless but by all means, it works.

The portrait of the father who has left his wife and child is brilliantly done by Wang Xueqi as he tries lostly to collect the rubble of a life. Neither over-the-top nor explosive, a strong ensemble overall succeeds in conveying a touching story through deep if not always long-lasting characters.

The visual composition is very similar to the narrated core of the film. The further you get, the more impressive becomes Xiaoshuai's slickness in terms of cutting and eye for picture details. The cross-cut flashbacks in particular send pleasant shivers through any movie buff.

And the interest in a not entirely original film is sustained by concrete content. It is thoughtful and purports to be an exploration into parenting and confession. It will hardly be to everyone's taste, Asian father drama, that goes without saying, but Chongqing Blues is a visual piece of film that is worth your time and attention.