Director
Having devoted much of his career to programming and film history research, Law Kar, a.k.a. Uncle Kar, places himself before the camera for the first time. This nostalgic trip down memory lane, as he recounts his personal and cinematic experiences, from film criticism, experimental filmmaking to auditioning for Federico Fellini, cumulates in a brief history of Hong Kong cinema itself. Reflecting on the past 80 years, Law Kar's affectionate documentary sheds light on local movies and Chinese cinema, brooding over the socio-political transformation of our perplexed city, as the restless cinephile ponders the role cinema and art play in times of crisis.
Self
The film traces the life and times of Esther Eng, a San Francisco native known as Hong Kong’s first “directress.” She directed 10 Cantonese talkies.
Producer
The film traces the life and times of Esther Eng, a San Francisco native known as Hong Kong’s first “directress.” She directed 10 Cantonese talkies.
Producer
In the life of Mr. Lai Man-wai, he had seen the most turbulent times of recent Chinese history. From the fall of the Qing Dynasty to the founding of the Republic, from the Sino-Japanese War to the founding of the People’s Republic. With a patriotic spirit, he joined the revolution and used the theatre to promote the revolutionary course. For a ‘stronger China’, and ‘education for all’, he chose film as his life long goal and career. Lai was more than the father of Hong Kong cinema was; he was also one of the pioneers of the Chinese cinema. He made Hong Kong’s first short fiction film ‘Zhuangzi Tests His Wife’. He opened the first Chinese owned cinema, the New World Cinema, in Hong Kong…. In the several decades, Lai had devoted his life and fortune in writing this glorious inaugural chapter in early Chinese film history. The technical enhancement, the introduction of foreign techniques and equipment were all part of his contribution to the Chinese cinema.
Screenplay
In the life of Mr. Lai Man-wai, he had seen the most turbulent times of recent Chinese history. From the fall of the Qing Dynasty to the founding of the Republic, from the Sino-Japanese War to the founding of the People’s Republic. With a patriotic spirit, he joined the revolution and used the theatre to promote the revolutionary course. For a ‘stronger China’, and ‘education for all’, he chose film as his life long goal and career. Lai was more than the father of Hong Kong cinema was; he was also one of the pioneers of the Chinese cinema. He made Hong Kong’s first short fiction film ‘Zhuangzi Tests His Wife’. He opened the first Chinese owned cinema, the New World Cinema, in Hong Kong…. In the several decades, Lai had devoted his life and fortune in writing this glorious inaugural chapter in early Chinese film history. The technical enhancement, the introduction of foreign techniques and equipment were all part of his contribution to the Chinese cinema.
Himself
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.
1930년대 전쟁기의 중국을 배경으로 한 러브 스토리. 1979년 데뷔작 "풍겁"으로 홍콩 뉴 웨이브 대표주자로 떠오른 허안화 감독이 연출을 맡았으며, 주윤발과 미스 홍콩 출신의 무건인이 주연을 맡았다. 대만 금마장과 홍콩 금상장 시상식에서 각각 의상과 음악상을 수상한 작품이다. 20세기 중국최고의 여류소설가로 일컬어지는 장애령 원작의 "경성지연"은 1930년대 일본의 침략으로 혼란에 빠진 상해와 홍콩을 배경으로 애틋한 사랑을 이뤄가는 두 남녀의 이야기를 그렸다.
