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The turmoil that has overtaken Hong Kong since its return to Chinese sovereignty in 1997 has spawned a new generation of young, passionately committed activist filmmakers; they want to tell Hong Kong's story with Hong Kong voices. And the best indie documentary to have emerged so far from the HKSAR is this year's Yellowing, by Chan Tze Woon, a 29-year-old with degrees in policy studies and film production. Hong Kong's fraught, tense relationship with its mainland Chinese overseers came to a head with the Umbrella Movement of 2014. A crowd of protesters stormed Civic Square on September 27. The next day police shocked most residents of the HKSAR by attacking the growing crowds with volleys of tear gas, whereupon a wide cross section of Hong Kongers occupied the streets in several areas and stayed for almost 6 weeks. Chan took his camera on the streets for 67 days during these events. He shot 1000 hours of footage, out of which he crafted a sensational and moving document featuring revealing portraits of students who camped out on the streets and organized a temporary, alternative, cooperative and communitarian Hong Kong. Richly detailed, engrossing and dramatic, this film captures the sights, sounds, and feelings of a time when tens of thousands of Hong Kong citizens, led by energized and idealistic youth, defied their government and demanded real democracy.
In short, the story is about a workaholic photographer whose girlfriend left him without a word after being repeatedly neglected by him due to his heavy workload. Possibly due to the turmoil of his girlfriend's disappearance, he ended up being an anti-social paparazzi (who sleeps with a colleague while trying to court another). i have to say that the plot is not the most interesting or fascinating out there, but you should watch it for Tony Leung Ka Fai alone. As usual, the best thing in this movie is still Tony Leung's acting which make this otherwise dull film watchable. And the worst thing? the under-qualified and overrated Michelle Saram whose bad acting gets more and more annoying as the show proceed.
Ka, a common housewife, leaves her husband after big change in the family. Then she encounters Man, who has for years blamed her father Chow for bringing to light his relationship with his lover Tracy after the accidental death of Man's mother.
A woman keeps telling people about how she felt when she made a long distance call to her boyfriend thirteen years ago. A man, waken by a mysterious midnight call, tries to recall certain things that happened thirteen years ago.
As far as the overhyped digital-video revolution goes, this frequently sensitive Hong Kong indie feature is promising news from the front, if not exactly the battle won. Debut director Vincent Chui steers close to a dozen characters through pre- and post-handover anxieties; while certain strands work better than others, Chui's sociopolitical engagement is a welcome break from the prettified ennui of HK's renowned art wing. A pastor (Tony Ho Wah-chiu) grapples with the imminent sale of his church to fast-track property developers; his wife (Ivy Ho), an agent herself, shops the family apartment from under his feet, perhaps as a sign of marital disenchantment. Some particularly fine underplaying by Crystal Lui as a gossip rag editor with memories of student resistance in Beijing best explores the theme of renunciation, less so, a sermon-based framing device - the film's title comes from Matthew. Still, this has much to recommend to it. In Cantonese with subtitles.
Wong's no-budget indie (dreamt up in a night, shot in a week) tells four distinct stories which intersect in the manner of Mystery Train. They range from character-based comedy (a young couple nervously venture into a 'love hotel' for the first time) to Grand Guignol melodrama (a Filipina maid seeks revenge on her two-timing lover - the actress being the director's mother's real-life maid).
Set in Hong Kong, Eya is a shy teen who takes writing as a way to escape alienation, bullying and loneliness. On the school fun day Eya remains silent in the interview, but she is not the only one who finds life is too hard to bear. Everything is changed that morning.
An overwhelming pro-democracy movement in Hong Kong (also described as the Occupy Movement or the Umbrella Revolution in the region) in 2014 has devastated many families in the city. A veteran journalist father, a policeman son and an activist daughter are living in a torn society of Hong Kong. The trios in the Suen family are caught off-guard by the teasing of Moerae, or the Goddess of Destiny. In philately, "tête-bêche", or head-to-tail in English, is used to referred to a pair of generic stamps which is inverted in relation to one another, either through a printing error or intentionally. The stamps are of special value only when they are unseparated. Metaphorically, "tête-bêche" can precisely reflected the portrayed family's tricky situation, that different role-plays or value judgments can lead to sparkling tension among family members, yet somehow the old saying of "blood is thicker than water" prevails.
Love is Elsewhere is a 2008 Hong Kong romantic drama film directed by Vincent Chiu.
1997 documentary, part of the Taiwan-produced series "Personal Memoir of Hong Kong", is both a self-portrait and a depiction of Hong Kong during the 40 years preceding the handover by the United Kingdom to China.