Producer
Fantasies, dreams, tears, and fears of four women chasing and watching each other in post-colonial Hong Kong. They chase, seduce, resist, and fantasize about each other. A Hong Kong that is as fake as real provides the perfect setting for their games, secrets, screams and tears. “Made-in-China Chan” (in Cantonese: Chan Kwok Chan) works as a stripper in cyberspace, but she often has headaches. Her only solace is from a Mainlander migrant who echoes what Chan does but with a better attitude. Nicole has money and power but she depends on “Made-in-China” to play with virtually at night in order to get some sleep. Zero does not have anything, but she knows what she wants and is determined to get it. Four women meet in a Hong Kong somewhere in the future. How do their desires manifest themselves in this Forbidden City? From totally different backgrounds, they look like they have very different problems, but do they?
Writer
Fantasies, dreams, tears, and fears of four women chasing and watching each other in post-colonial Hong Kong. They chase, seduce, resist, and fantasize about each other. A Hong Kong that is as fake as real provides the perfect setting for their games, secrets, screams and tears. “Made-in-China Chan” (in Cantonese: Chan Kwok Chan) works as a stripper in cyberspace, but she often has headaches. Her only solace is from a Mainlander migrant who echoes what Chan does but with a better attitude. Nicole has money and power but she depends on “Made-in-China” to play with virtually at night in order to get some sleep. Zero does not have anything, but she knows what she wants and is determined to get it. Four women meet in a Hong Kong somewhere in the future. How do their desires manifest themselves in this Forbidden City? From totally different backgrounds, they look like they have very different problems, but do they?
Director
Fantasies, dreams, tears, and fears of four women chasing and watching each other in post-colonial Hong Kong. They chase, seduce, resist, and fantasize about each other. A Hong Kong that is as fake as real provides the perfect setting for their games, secrets, screams and tears. “Made-in-China Chan” (in Cantonese: Chan Kwok Chan) works as a stripper in cyberspace, but she often has headaches. Her only solace is from a Mainlander migrant who echoes what Chan does but with a better attitude. Nicole has money and power but she depends on “Made-in-China” to play with virtually at night in order to get some sleep. Zero does not have anything, but she knows what she wants and is determined to get it. Four women meet in a Hong Kong somewhere in the future. How do their desires manifest themselves in this Forbidden City? From totally different backgrounds, they look like they have very different problems, but do they?
Director
An average of 60,000 people emigrated from Hong Kong each year in early 1990s. An absolutely personal and biased sampling of this diaspora from an insider/outsider perspective just before the 1997 handover. Based on the personal experiences of individuals from Hong Kong in 1990s, Diasporama is an experimental documentary that addresses issues of the diasporic condition. In a series of intimate interviews that explore the relationship of the personal and the political, Yau Ching confronts notions of nationhood, identity, and post-colonialism. Inserting her own face and voice as a form of mediation, the artist herself becomes one of the subjects.
Director
In Flow, completed in 1991, Wenyi Hou, the Chinese woman migrant artist being interviewed, struggles with the impossibility of identity formation through speech and performs instead a documentary scene that has obviously been rehearsed in order to highlight the unhumanness of being human. She asks whether it is possible that we all originated from and could be reducible to grape, in the farm of bunches, connecting and consumable, yet all brilliant and different in their own contexts, or in her words, “in another kind of time.”
Director
In this music video, which operates as a meditation on contemporary Chinese history, Yau Ching combines found images and text to negotiate between idealism and propaganda and the hopes and disillusionment that they bring.
Director
“Because I have always been on the move, departing a city and waking up in another country, I find myself writing letters all the time — to people I miss, people I met on the road, people I look forward to meeting… When I grew tired of words (which happened very often), I began writing them in video. Since I was traveling, writing letters in unknown lands, I also had very limited access to technology. I write my video letters with Fisher Price Pixelvision, Super-8, and Hi-8. When I could not find editing facilities I edited them with the camera. They became records of my desires desperately in need of an outlet… When shown in public, they re-invent new meanings in different contexts. They become letters to anyone who can relate to them.” — Yau Ching
Narrator
It started off as personal letter I imagined a woman like me would write to, say, a lover back home. I initially had an image in mind to talk to but gradually that image fell apart, became obscure, diverse and unrecognisable. Amidst the minute, unconnected pieces I had to ‘make up’ that image myself. Making this film forced me to rethink my relationship with that image and if possible, exorcise it. – Y.C.
Director
It started off as personal letter I imagined a woman like me would write to, say, a lover back home. I initially had an image in mind to talk to but gradually that image fell apart, became obscure, diverse and unrecognisable. Amidst the minute, unconnected pieces I had to ‘make up’ that image myself. Making this film forced me to rethink my relationship with that image and if possible, exorcise it. – Y.C.
