It takes only a few strategic bars of tinkly piano score to suggest that the protagonist of How to Make Millions Before Grandma Dies (Lahn Mah) might trade his cynical motivation for selfless devotion before the end credits roll. But the unapologetic sentimentality doesn’t make this bittersweet comedy-drama any less touching or insightful in its observation of spiky family interactions when end-of-life issues and questions of inheritance cause sparks. Thailand’s submission for the international Oscar is the country’s first entry to make it onto the 15-title shortlist.

The debut feature from television and documentary director Pat Boonnitipat was a blockbuster in its domestic release, crossing borders to find similar success elsewhere in Southeast Asia and grossing an estimated $73.8 million worldwide. It’s easy to see why. Viral social media exposure that sprang from Manila theater staff handing out tissues prior to each screening and audience members posting videos of themselves in floods of tears on the way out no doubt helped.

But what’s perhaps more significant is the perceptiveness and affection with which the screenplay by Thodsapon Thiptinnakorn and Boonnitipat captures a family dynamic that’s complicated and imperfect but grounded in a loving sense of intergenerational duty, even if concerns of personal benefit can get in the way. In the story, that dynamic is very specifically Asian, but the basic plot mechanics are sufficiently universal to resonate anywhere.

The theme of death is established with a welcome lightness of touch in an opening scene set on the day of the Qingming Festival, when families of Chinese origin visit the graves of their ancestors to clean the sites, scatter flowers and make ritual offerings of food and incense. The religious holiday matters most to Mengju (Usha Seamkhum), the crotchety grandmother of the title, fondly addressed as Amah by her family. She’s bossy and frequently critical of them, mostly with good reason.

Her eldest son Kiang (Sanya Kunakorn) is a financial trader whose wife and daughter chime in via video call, prompting Amah to point out that they never visit her. Her youngest son Soei (Pongsatorn Jongwilas) is a deadbeat with a gambling habit. The middle child is careworn supermarket worker Sew (Sarinrat Thomas), the most dutifully attentive of Mengju’s three children. However, the fact that Sew’s son M (Putthipong Assaratanakul, aka “Billkin”) has dropped out of college with the pipe dream of making money as a videogame streamer seems to reflect badly on Amah’s daughter.

When the old woman expresses her wish to be put to rest in a grand burial plot, the awkward responses suggest that none of her family will be volunteering to foot the substantial bill. While still at the cemetery, Mengju has a fall and is taken to hospital, where an examination reveals that she has stage 4 stomach cancer. The family decides to keep the grim news from her.

Meanwhile, M studies his savvy younger cousin Mui (Tontawan Tantivejakul) as she cares for their wealthy paternal grandfather in the final months of his life and then inherits most of his estate when the old man dies. Mui swiftly sells his house and moves into a modern high-rise apartment, where she sidelines as a sexy nurse on OnlyFans. She advises M to insinuate himself as Amah’s primary carer and get into pole position in her will, telling him he’ll stop noticing the “old person smell” after a while.

M starts turning up unannounced at his grandmother’s house in one of Bangkok’s Chinatown districts, where she makes a humble living selling congee at a local street market. Mengju is immediately suspicious of his motives, proving resistant when he tries to ingratiate himself with her, which prompts M to break the news of her cancer diagnosis.

Mengju accepts the prognosis with stoical calm and drops her objections when M moves in to take care of her, accompanying her at 5 a.m. each day to her congee stand. Even so, she’s an irascible woman who’s set in her ways and determinedly self-reliant, which makes her prickly during the next weekly family gathering, when even Kiang’s wife Pinn (Duangporn Oapirat) and daughter Rainbow (Himawara Tajiri) make a rare appearance.

It soon becomes apparent that almost everyone hopes to inherit Amah’s house, especially as her condition worsens and chemotherapy fails to produce results. Hard-working Sew (Thomas is the standout of the supporting cast) is the only one who cares for her mother altruistically. She’s more pragmatic than self-pitying when she observes, “Sons inherit money, daughters inherit cancer.”

The patriarchal imbalance and the tendency in traditional Asian families to favor sons — who carry on the family name — over daughters play out effectively both in developments with Mengju’s estate and in the grandmother’s own history.

In one lovely sequence, M takes her to visit her well-heeled older brother (Wattana Subpakit) and his family in their palatial home. It’s a cozy reunion, enlivened by the elderly siblings doing karaoke, until Mengju asks him for money to buy her funeral plot. She reveals to M that despite caring for her parents in their dotage, they left their entire estate to her brother, partly because of their low esteem for the husband they had chosen for Mengju in an arranged marriage.

The heartfelt movie is ill-served by an international title that suggests broad comedy — the original Thai title, Lahn Mah, means “Grandma’s Grandchild,” which comes much closer to capturing the story’s emotional center.

Even if Jaithep Raroengjai’s score leans into the sentiment, M’s growing fondness for Amah — and vice versa — is conveyed with a depth of feeling that steers it clear of the trap of formulaic schmaltz. Their bond slowly supplants his earlier opportunism. And surprising developments in the final act build to an affecting conclusion in which the sadness is mitigated by unexpected rewards.

Strong ensemble acting makes the family a believable unit, their differences notwithstanding. But it’s the evolving rapport between M and Amah that makes the film so captivating, played with humor and sensitivity by Assaratanakul — also a successful T-pop singer and Gucci brand ambassador, drabbed down in sloppy slacker gear for this role — and delightful newcomer Seamkhum, a natural in her first feature. The 78-year-old actress was signed to a modeling agency after being spotted on video in a dance contest for seniors and has been seen primarily in commercials.

In addition to eliciting solid work from his cast, the director imbues the movie with a vivid sense of place, working with DP Boonyanuch Kraithong to mark dividing lines of wealth in various Bangkok neighborhoods, notably the historic, traditionally Thai Chinese Talat Phlu community where Mengju lives.

“American Meltdown” is a comic buddy picture that taps into the deep well of Millennial angst and grievance about a “system” that is finally so broken it doesn’t work for them. At all.

Like a lot of fiction and op ed essays about the large and maligned generation, it’s very much in the eye of the viewer — this perception that these mid-20s to late30somethings are either the first to figure out American capitalism, culture and politics is “rigged,” or simply the first to considering giving up trying to fix it.

It’s an indie film that reminds us there’s talent out there that mainstream distributors haven’t embraced — in front of and behind the camera. And fittingly enough for the subject generation, “Meltdown” feels self-satisfied but incomplete, with a finale that plays like a pulled-punch.

Jacki Von Preysing makes her feature film debut as Olivia, an interior designer who learns she needs to take “90 days off” so that her scummy “blame the unions” (there are none) employer (Bella Shaw) can avoid paying her “full time” wages, with benefits, and on the same day comes home to see that her SoCal rental house has just been ransacked.

Broke, blamed for the break-in by the lazy, dismissive Millennial cop (Shaun Boylan) and her creeper corporate landlord (Clayton Farris), in a house she can’t afford since her inheritance baby beau (Christopher Mychael Watson) ditched her for “an influencer,” on a “background check” waitlist for a job driving for one of those predatory rideshare services, Olivia’s delusions of The American Dream are tattered.

She stumbles into this photographer under a pier on the beach, who snaps a picture that makes her look like someone’s who’s died, or just given up. Then shutterbug Marí (Nicolette Sweeney) chases Olivia down and returns the wallet “you dropped.” As it’s not the right wallet, and the right one and the wrong one, both in Marí’s possession, are empty of cash, Olivia needs to look past “super sketchy” apologies and see the pickpocket for who she really is.

Unlike Olivia, Marí has dropped off the capitalism hamster-wheel, living hand-to-mouth, off-the-grid and in a van in the desert. When she’s in town, prowling this or that beach or street scene, she “only” steals “from those who deserve it.”

As the cop IDs Olivia as “Bougie,” we understand Marí’s mistake. She thought Olivia had money and takes pity on her when she realizes otherwise. And “sketchy” or not, Olivia could use a little company right now — for binge drinking, and for companionship in the tony and now scary house Olivia is afraid to sleep in alone.

An unlikely friendship drifts towards “partnership” as the movie hints at a big crime to come. Olivia is interviewed by a detective (DeMorge Brown) in the aftermath of that event, viewed in flashbacks as the script reconstructs the nature of Olivia and Marí’s relationship.

Olivia is passive. Marí seeks revenge or some form of rough justice. Olivia despairs at her plight — calmly.

“What’s the use of being calm,” Marí’ wants to know” “ANGRY people get s–t done!”

The leads and supporting players are make believable characters out of one and all. But writer-director Andrew Adams leaves out connecting scenes that would make the abrupt shifts of setting and attitude less jarring.

Expressions of generational angst and rage register. But while some seem rational and justified, others come off as “Ok Boomer” cant from folks who deserve at least some of the “entitled,” impatient and (intellectually and physically) “lazy” labeling and abuse tossed at them by their elders.

No matter where your birthday falls on the generational dividing line, “American Meltdown” never quite shakes the “letdown” it seems destined to become.

Sharper contrasts in the character’s arcs were called for, maybe a few pickpocket and anarchist politics lessons from the van-dweller jarring Ms. Buys-in into questioning her faith in a system that either denies her dreams, or is to blame for her having those dreams in the first place.

Whatever its failings, “American Meltdown” should inspire others to tackle this subject at this point in time. Because as bad as things might seem to Millennials and those coming up after them, something tells the rest of us that these will soon be the “good old days” for those who don’t consciously work, shop, vote and fight to change the future they so despair of facing.

Rating: TV-16+ (profanity)

Cast: Jacki Von Preysing, Nicolette Sweeney, Shaun Boylan, Clayton Farris, DeMorge Brown and Bella Shaw.

Credits: Scripted and directed by Andrew Adams. An MPX release on Amazon Prime.

Running time: 1:22

LOVE LIES BLEEDING is a modern, vicious film noir. A lesbian woman named Lou is estranged from her vicious father Lou Sr. yet manages a decrepit gym he owns in their desert town. Jackie, a female drifter, arrives in town and engages in back-seat, adulterous sex with JJ, who’s married to Lou’s sister, Beth. Lou is instantly attracted to her when she flexes her muscles. The two women soon begin a tawdry sexual relationship.Beth winds up in a hospital when JJ viciously beats her offscreen. Jackie has been abusing steroids to build muscle. She flies into a murderous rage and brutally kills JJ. A string of double-crosses explodes. Can Lou bring down her father and his illicit crime machine? Is Jackie a serious love interest or a con artist?

LOVE LIES BLEEDING is a modern-day, highly immoral, sleazy take on the film noir genre. It features a graphic lesbian relationship, numerous scenes of graphic violence, substance abuse, and abundant foul language. The movie has a twist-filled script, fast pacing and gritty performances, but it repulsed the vast majority of moviegoers at the box office.

(PaPaPa, HoHoHo, LLL, VVV, SSS, NN, AA, DD, MMM):

Dominant Worldview and Other Worldview Content/Elements:

Vicious, promiscuous, totally immoral movie filled with violence and sex, especially lesbian sex;

Foul Language:

At least 78 obscenities (including 65 “f” words), three strong profanities using Jesus Christ and a gross scene where a woman has to unclog a clogged toilet;

Violence:

Numerous people are shot in graphically bloody fashion with sickening wounds and shocking sound effects, woman shoots another woman in the head and causes blood to splatter all over the camera, woman beats a man to death, woman breaks that man’s jawbone wide open as she slams his head repeatedly into a table, abused wife is hospitalized by a particularly brutal yet offscreen beating that leaves her face severely bruised and swollen, another character tortures this woman by pressing hard against her facial injuries, woman shoots another man in a shootout then shoves the barrel of her gun into his mouth, takes the gun back out but smashes the gun into his face to kill him, and a woman is shown waking up from a seemingly fatal gunshot wound, but another woman chokes her to death and dumps her body in the desert;

Sex:

Graphic lesbian sex scenes, particularly showing oral sex, the sex is shown promiscuously on a one-night stand, and later another lesbian blackmails one of the lead lesbians into having relations with her (though this is only implied and discussed, not shown), movie opens with a man having forceful, adulterous sex with a woman from behind in the back of a car, and a lesbian sucks on her girlfriend’s toe;

Nudity:

Several lesbian sex scenes feature female breasts and buttocks but no genitals, another lesbian woman is shown standing with full rear nudity after an implied sex scene, and shirtless men are seen working out in several scenes;

Alcohol Use:

Adults frequently drink alcohol, with one scene showing a woman drunk;

Smoking and/or Drug Use and Abuse:

A woman smokes cigarettes frequently, a female bodybuilder severely abuses steroids throughout, leading to violent outbursts and her vomiting onstage in front of a crowd, and the steroid injections are shown in a sensuous fashion;

Miscellaneous Immorality:

Lying, double-crosses, deception rampant throughout, with a dehumanizing use of violence.

LOVE LIES BLEEDING is a modern-day, highly immoral, sleazy take on the film noir genre that centers on a graphic lesbian relationship, numerous scenes of graphic violence and an abundance of foul language. LOVE LIES BLEEDING has a twist-filled script, fast pacing and gritty performances, but should not be viewed by anyone.

The story centers upon a lesbian woman named Lou (Kristen Stewart), who is estranged from her vicious father Lou Sr. (Ed Harris) yet works managing a decrepit gym he owns in their desert town. Meanwhile, a female drifter named Jackie (Katy O’Brien) arrives in town and immediately engages in back-seat, adulterous sex with JJ (Dave Franco), who’s married to Lou’s sister Beth (Jena Malone).

The backseat liaison results in a job for Jackie at a gun range on the edge of town owned by Lou Jr. She’s just saving up money to finish a trip to Las Vegas for a women’s bodybuilding championship, and when she flexes her massive muscles, Lou is instantly attracted to her.

The two soon engage in a tawdry sexual relationship, but Lou’s happiness is abruptly halted when Beth winds up in a hospital after a vicious (offscreen) beating at the hands of JJ. Lou Sr. wants to keep it all in the family rather than report JJ to the police, which angers Lou greatly.

Jackie has been abusing steroids in order to build muscle for her upcoming competition, and flies into a murderous rage that results in her brutally killing JJ. When Lou and Jackie dump his body in an enormous pit in the desert outside of town, a string of double-crosses explodes as Lou Sr. is determined to find out who killed JJ and federal agents start asking Lou lots of questions about his potentially criminal enterprises.

Can Lou manage to bring her father and his illicit crime machine down? Is Jackie a serious love interest or a con artist using her for her own ends?

LOVE LIES BLEEDING has excellent performances from all of its cast, who bring a wide array of seedy characters to vivid life. Also, Director/Co-writer Rose Glass keeps the twists coming fast and furious throughout the movie’s bonkers second half.

Despite the technical skill with which it’s made, LOVE LIES BLEEDING is a movie that has literally no characters to support and no sense of legal justice – just brutal vigilante revenge meted out several times over. Even Lou becomes utterly reprehensible and heartless by the end, and the movie’s entire mood is demoralizing and dehumanizing.

Packed with graphic violence, sex and nudity and an abundance of foul language, LOVE LIES BLEEDING is utterly distasteful and a must to avoid for viewers of all ages.