Junn (Cheng Pei Pei) is a widowed Cambodian-Chinese woman who lives in an old peoples home in London, placed there by her only son Kai (Andrew Leung). With no other family, and having left Cambodia over 50 years ago, Junn is alone and unwilling to adapt to her surroundings or the people she's placed with.

She relies on Kai's attentions and affections, but her isolation becomes utterly complete with his unfortunate death. Junn knew that Kai lived in a house with Richard (Ben Wishaw), but Kai hadn't told her they were together as a couple. Grief-stricken himself, Richard feels duty-bound to help Junn, but they don't even share a common language let alone know much about each other.

Alan (Peter Bowles) resides at the home too and starts an unusual relationship with Junn where they talk to each other in their own languages, not really knowing what on earth the other is thinking or talking about apart from physical gestures. Richard tries to help this sweet pairing by hiring a translator in Vann (Naomi Christie), so that they can communicate with each other. Its a way in for Richard to get closer to Junn, who has her own reasons for disliking him.

'Lilting' is the debut from writer-director Hong Khaou, who shines a light on contrasting cultures in the capital. Grief is foremost in the minds of all concerned, Wishaw is wonderful as the achingly suppressed Richard, who gradually releases his grief the more he gets to know Junn, showing her just how much he loved Kai. Pei Pei plays the stoic mother perfectly, you can see the isolation, love and grief in her eyes.

In light of the subject matter, the overall mood of 'Lilting' is quite forgiving. Junn and Alan provide the most endearing moments as well as some awkwardly comical scenes especially when they confess their bad habits to each other. Dealing with such weighty issues as love, memory, language and mourning, Khaou has directed an assured and thoughtful film full of subtle releases and deeply felt emotions.

it is the basic ingredient. for looks, for gestures, for discover the film more than a gay story or clash between different cultures.because it has the gift to become translation of the history of the viewer. in the case of Lilting, the grace of image defines not only pieces of a puzzle but the rhythm of yourself discover. because it reminds profound relationships, the force of the past, the fears, the forms and nuances of love, the expectations, the role of the other to define things, words, decisions. a film about the transformation of solitude in a subtle friendship. delicate. impressive, touching and delicate. a film about escape from yourself. mark of a real interesting director.

An elderly, forgetful, Cambodian lady "Junn" (Pei-Pei Cheng) is visited in her care home by her son; they chat - are friendly enough - but she isn't entirely sure why he has put her there. "Kai", her son (Andrew Leung) has a secret - he is gay, and has lived for four years with boyfriend "Richard" (Ben Whishaw). When tragedy occurs, "Richard" wrestles with what is best to do for the welfare of the now grieving, but still oblivious "Junn" - who, to add to the complications doesn't speak a word of English. With the help of "Vann"; who interprets for him and for her potential beau "Alan" (Peter Bowles), he tries to help her make sense of it all, whilst coming to terms with his own situation. It's a slow, gentle tale that tries to illustrate the differences in culture - both actual and assumed - in a rather unsophisticated way. It tends to look at "Junn" rather than try to take on any perspective from her point of view, and as such seems more intent on creating an expectation of gay intolerance than actually need necessarily be the case; we don't really understand why we ever got (after 4 years) into a scenario where the boys would not have discussed their relationship with her. Nothing in writer Hong Khaou's depiction of the lady suggests she is anything other than a lonely old woman who has lost her husband. There is nothing in her character or language to lead us to believe there was any hostility being harboured - aside, perhaps, from her not much liking "Richard" at all. Perhaps it is based on some personal experience, somewhere, but I found it tended to try to make a drama out of a crisis; and all felt just too artificial for me. Cheng and Bowles as a budding couple don't really work, either - not because they are old, or set in their ways - just because they seem pretty incompatible. If it is supposed to be a social comment on mixed culture same-sex relationships it could have relied less on stereotypical assumptions and maybe it would have delivered better.