Writer
Restaurant supervisor Jill (Karena Lam) has a handsome boyfriend Chi On (Wu Bing), but she is just his backup girlfriend. She knows she is the other girl, but her hope for being his one and only has never ceased until he changes his formal girlfriend once again. All her anger goes to her co-worker Jack (Ekin Cheng), who appears to be a womanizer but indeed shares a similar unfortunate romantic situation of being the backup boyfriend of an airhostess. Knowing that both are victims in romantic relationships, Jack and Jill no longer spar with each other and a liking between them start to develop
Director
Restaurant supervisor Jill (Karena Lam) has a handsome boyfriend Chi On (Wu Bing), but she is just his backup girlfriend. She knows she is the other girl, but her hope for being his one and only has never ceased until he changes his formal girlfriend once again. All her anger goes to her co-worker Jack (Ekin Cheng), who appears to be a womanizer but indeed shares a similar unfortunate romantic situation of being the backup boyfriend of an airhostess. Knowing that both are victims in romantic relationships, Jack and Jill no longer spar with each other and a liking between them start to develop
Editor
This highly personal film essay demonstrates that Chinese cinema has dealt with questions of gender and sexuality more frankly and provocatively than any other national cinema. Yang ± Yin examines male bonding and phallic imagery in the swordplay and kung fu movies of the '60s and '70s; homosexuality; same-sex bonding and physical intimacy; the continuing emphasis on women's grievances in melodramas; and the phenomenon of Yam Kim-Fai, a Hong Kong actress who spent her life portraying men on and off the screen.
Editor
Stanley Kwan's view in this film is both personal and collective memories towards Hong Kong in 1997. He cites one famous line from Cantonese opera 'Princess Chang Ping', 'I deny, I deny, but in the end I cannot deny' as a metaphor for Hong Kongers' troubled minds when they have to recognize their identity as Chinese. To make a statement of the theme, Kwan adopts a complicated structure, mixing excerpts from his previous films, his stage play, even the soundtrack of Wong Kar-wai's Days of Being Wild.
