
Alyssa Chia Ching-Wen
Pin-Wen Luo

After having to quarantine together during COVID-19, a mother and daughter are forced to confront their personal obstacles and relationship tensions.
The Falls is a stern and sorrowful picture of lockdown as a mental state, not a news event.

Chung Mong-hong sets his Taiwan drama during COVID-19 quarantine, when a mother and daughter are shut inside together and left to face frictions that were already present. The setup sounds familiar from the early pandemic cycle. The execution is not.
Running 129 minutes, the film refuses hurry, topical jokiness, or uplift. It watches routine crack under pressure until care starts to look like surveillance and love starts to sound like blame. That refusal to comfort is the point.

The central idea holds for the whole running time: confinement does not create illness so much as reveal its shape. The mother, played by Alyssa Chia Ching-Wen, tries to manage the apartment the way she tries to manage her mind, with lists and cleaning and firm decisions. The daughter, played by Gingle Wang, retreats into phones and silence and barely masked contempt.
Chung traps them in hallways, kitchens, and balconies where every sound carries. Walls that were supposed to protect become thin. When one woman breaks down, the other is forced to listen, and listening turns out to be harder than providing.
That is where the Chinese title, Pu bu, meaning waterfall, earns its weight. Water appears as rain, as plumbing, as leakage, as tears held back too long. Chung, working as his own cinematographer, shoots the apartment block as a vertical place where lives stack and drip into each other.
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Taiwanese director Chung Mong-hong’s The Falls (2021) arrived as a meditative yet unsettling portrait of family and isolation, set against the backdrop of a pandemic. While the film’s dreamlike pacing and poetic visuals earned it a slot at the Toronto International Film Festival (TIFF) 2021, latestnetflix.com argues, its production and reception offer a few intriguing behind-the-scenes details—though evidence remains sparse.
Chung Mong-hong, the film’s director, screenwriter, and cinematographer, has built a reputation for blending drama with psychological depth. His previous work, A Sun (2019), explored crime and redemption in Taiwan, earning critical acclaim . The Falls continues his signature style, described in snippets as a "genre-bending" film that weaves "poetic cinematography" with themes of family trauma and memory
. While the evidence doesn’t specify how much of the film’s surreal tone was planned versus improvised, Chung’s dual role as director and cinematographer suggests tight creative control over its visual language.
The Falls premiered at TIFF 2021, where it screened alongside other high-profile titles. Trailers and Q&A sessions hint at the film’s reception:
The film’s SensCritique rating of 6.9/10 (from 42 votes) aligns with this mixed reception, though Rotten Tomatoes’ page
doesn’t provide a critic or audience score in the snippet.
The film stars Alyssa Chia Ching-Wen and Gingle Wang in lead roles, with supporting performances from Chen Yi-wen, Lee Lee-zen, and others . However, the evidence doesn’t reveal how the cast was assembled or whether any improvisation was involved. Given Chung’s hands-on approach, it’s plausible he tailored roles to his actors’ strengths, but this remains unverified.
One notable absence: details about the film’s production timeline. While The Falls is set during Taiwan’s COVID-19 lockdowns, the snippets don’t clarify whether filming occurred during or after the pandemic, or if the story was adjusted to reflect real-world events.
Despite its festival run, The Falls leaves several gaps in its behind-the-scenes story:
For now, The Falls remains a quiet enigma—praised for its craft but light on tabloid-worthy drama.
Entertainment rumors and trivia aggregated from public reporting. Treat speculation as unverified unless a cited source confirms it.