You are here:

Till Death Shall We Start

Name: Till Death Shall We Start
Director: Ricky Lau
Released: 1990
Duration: 87 min

Representation Score

2.2/10

Limited

1990

Director

Ricky Lau

Runtime

87 minutes

Average Rating

No ratings yet

New Showbiz Analysis

Till Death Shall We Start operates as a typical genre piece, leaning heavily into the commercial clichés of 1990s Hong Kong comedy-horror. The narrative is driven by a singular, primal supernatural goal that reinforces traditional social structures rather than questioning them. The film lacks intentionality regarding social disruption, relying on established archetypes such as the sex-crazed pursuer and the pursued female protagonist, which limits its depth in terms of modern representation. Ultimately, the work serves as localized escapism, prioritizing comedic chaos and folklore over any meaningful exploration of diverse identities or systemic critiques.

Watch this, not that →

Category Breakdown

Does Till Death Shall We Start have LGBTQ+ representation?

Limited

The film centers on a pursuit that assumes everyone is straight and cisgender, with no representation of LGBTQ+ identities or critiques of the assumption that everyone is straight or cisgender.

How does Till Death Shall We Start portray gender?

Limited

The film reinforces traditional gender roles, where the female character is primarily an object of pursuit, reflecting conventional power dynamics between men and women.

How racially and ethnically diverse is Till Death Shall We Start?

Fair

The film offers representation of East Asian identity within a Cantonese-speaking context, but it does not explore a wider range of ethnicities or backgrounds.

How does Till Death Shall We Start represent religion and culture?

Limited

The narrative relies on traditional folklore and supernatural concepts like reincarnation, focusing on escapism rather than challenging religious or systemic institutions.

Does Till Death Shall We Start include disability representation?

Minimal

There is no mention of characters with visible or invisible disabilities, nor any exploration of neurodivergence or physical impairments.

Present on Screen

Offers culturally specific representation of East Asian identity within a Cantonese-speaking context.

Limited or Absent

Female characters lack significant control over their own stories.
The film relies on traditional gendered power dynamics.
It does not include non-assuming gender matches what was assigned at birth identities or diverse ethnic casting.

Official Synopsis

David died a virgin, and the Doomsday Book says a virgin ghost has no right for reincarnation until he deflowers a human virgin. So David assumes the human shape and goes after Yen. Yen's boyfriend finds out that David is a ghost and warns her, but she doesn't listen. It's now up to him to protect her--against her will--from the sneaky and sex-crazed ghost of David.

How are these scores produced? →