Three main storylines are interwoven. Two roommates, Thomas and Sammy, have known each other for years, but they are reluctant to articulate their affection toward each other. Both Ken and Joyce, a couple finally getting married after dating for eight years, have their own secrets. And Catherine and Ryan, a long-separated couple, struggle to rediscover the meaning of family.
It deploys a Rashomon style in its approach. This allows characters to view and rationalize the same scenario in an often self-serving manner.
"Different people will see either the head or the tail of the same story," says Twofive Yeung, one of the two directors of The Gutter, in a recent phone interview with China Daily. The other director is known as Fatball. "Traditional plays often tell the story through personal perspectives, and we want to borrow that to show the complexity of people."
The Gutter-its Chinese title being Tanxi Qiao (meaning "the bridge of sighs")-delivers the sullen essence of a story, rather than a happy ending. Many scenes are set in winter, creating an even colder aura.
"It can be too real or too straightforward sometimes, but it actually inspires people to reflect on their own life," Yeung says.
"If you grip something too tightly, it will hurt. Sometimes it's better to take it easy. I'm not only talking about love, but everything," he adds.
Relationships between parents and children also come into play.
The directing duo, Yeung and Fatball, first entered the business by shooting advertisements. In 2016, they cooperated to present their first romance series Margaret & David: Green Bean, which was widely acclaimed.
