TORONTO – Somewhat surprisingly, “Diary of a Mad Old Man” is director Wayne Wang‘s first movie since 2019. As with much of the celebrated filmmaker’s work over the past 20 years, it harkens to an artistic, auteur perspective he essentially abandoned to work in the Hollywood studio system for a good decade around the turn of the century. And, in theory, that’s a tantalizing prospect. An adaptation of Jun’ichirō Tanizaki’s classic 1961 novel of the same title, first-time screenwriter Kevin Wyles has done an admirable job of updating the story for contemporary audiences. Unfortunately, after a beguiling start, Wang can’t quite nail the landing.

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Chronicling his thoughts in voice-over (from said diary), Utsugi (Lily Franky) is still recovering from a stroke that hit him on the eve of his 69th birthday. The proprietor of a long-running Kimono business, the widower has essentially been stuck in his beautiful Tokyo area home as he adjusts to his new limitations. His memory and voice have returned, but the left side of his body is still partially paralyzed. His younger sister Hana (Youki Kudoh) and niece by marriage, Chinese-born Susu (Fan Bingbing), assist him with physical therapy exercises. Meanwhile, his only son Jokichi (Takumi Saitoh) is having issues with his own finances and growing increasingly frustrated that Susu cannot get pregnant, and by the pressure Hana holds over him to continue the family line.

Whether it’s the advent of the stroke or just his nature – it’s genuinely unclear – Utsugi could care less about a grandson. But he is worried about Susu. And the blame she endures when his son’s own sperm count is likely the issue.

As summer approaches, Utsugi surprises Hana by announcing he will not be joining the family at their annual villa retreat. Instead, he’ll stay home to recuperate with Susu as his guide. This unsettles Hana, but Jokichi, who we eventually learn has a lover on the side Susu is well aware of, doesn’t bat an eye.

Over the course of the following few weeks, Utsugi develops a deep crush on Susu. What he’s never quite sure of is whether she’s suggesting this romantic dalliance or if the flirtation is in his own mind. But Susu, who has worked as a hostess in a restaurant that caters to businessmen, is no dummy. Utsugi may be her father-in-law, but she’ll leave the door ajar to the shower or make sure her feet are intentionally close to his face during therapy stretching. One night, after he suffers from an episode of high blood pressure, she plays a game where she almost suffocates him, but he laughs it off when it ends. He has allowed her to cross a line, and she knows it.

During his daily walks, they begin to share more of themselves. She admits she doesn’t think she’s suited to be a wife. He shows her where he wants to be buried in his garden. At one point, she drunkingly reveals how she was sexually harassed when she was living back in China. A bond is forming between them, and, eventually, they consummate their connection in a foot fetish escapade. In the context of this particular film, it’s certainly jarring, but it also hints at how off the rails the rest of the movie is headed.

The third act takes a significant turn from the original novel. A loud, dramatic peak that descends into performative chaos like a bad soap opera. Sadly, the film never truly recovers.

What makes this crash so frustrating is that up until this point, Wang has made a slew of interesting choices, and for as quiet as the film appears at the outset, a lot is going on below the surface. His older actors (Franky and Kudoh) are essentially playing roles a decade older than their actual ages. The younger characters (Saitoh and Bingbing) are portraying characters a decade or so younger than they are. There is subtle commentary on contemporary prejudice between Japanese and Chinese people. Wang also plays with dream sequences and Utsugi’s changing mindset. He recalls a moment when he was introduced to a Kabuki actor as a young man and was beguiled by his femininity. Revealing in his voice-over that his preference for a particular gender may be changing in his old age. He even fantasizes about Susu pegging him in male drag (a scene that will certainly get your attention).

Moreover, while there are select scenes in the city and other locations, the narrative is mostly confined to Utsugi’s stunning home. Its green surroundings, massive ceiling-to-floor windows, and open doors – familiar to Japanese architecture – guarantee it will never feel claustrophobic, but Wang and cinematographer Koichi Furuya shoot the hell out of the space. Their set-ups are beautifully framed, and a sense of naturalism pierces through the screen. A welcome respite from much of the muck of contemporary cinema, or at least the majority of titles at this year’s 2026 Toronto International Film Festival, where “Mad Old Man” debuted.

And while Franky and Bingbing are committed, they can only do so much (and perhaps too much under Wang’s direction). The entire endeavor teases as much as Susu’s flirtations. And while you applaud the effort, the end simply feels like the whiplash from a bad hangover after an indulgent night Utsugi, Susu and the audience should have skipped. [C]

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Editor-at-Large Gregory Ellwood is one of the entertainment industry’s most respected journalists and critics. Based in Los Angeles, he’s the only current awards expert who previously worked on Oscar campaigns at a major movie studio. Over the years, he has written for the LA Times, Variety, The Hollywood Reporter, and Vox, among others. He also co-founded the entertainment news site HitFix, which spawned a legion of influential Emmy and WGA Award-winning alumni.