Chiu Sin Hang remembers this meal scene with Uncle Chi
Hero Yuen says that rehearsing with Uncle Chi felt wonderful and fortunate courtesy of mingpao.com
Dick Liu Kai Ch's final film FATE (SAI SEUNG JI YAU BA
BA HO) recently opened. Earlier a premiere was held. Uncle Chi's
widow Chan Man Yi said that this was a movie that touched her and
also would be able to touch the audience. The story was related to
organ donation. In the film Uncle Chi and Chiu Sin Hang played father
and son who were mad at each other. Hang Jia remembered working with
Uncle Chi and said that he first Uncle Chi for the first time on the
set. He rarely talked to him; in one silent father and son meal
scene, during rehearsal, Uncle Chi was looking at his phone. Hang Jai
at first felt that was very strange. In the film Uncle Chi was a taxi
driver. Later Hang Ji realized that Uncle Chi on his phone installed
a taxi dispatch app to get into character. He also used this way to
bring Hang Jai into character, and made this silent meal scene much
richer in emotions. This was a very professional and smart way to
act, and he has learned from it. Hang Jai said that Uncle Chi after
leaving the character was a great elder and took great care of the
younger generations. Thus he was very thankful and happy to have a
chance to work with him.
Hero Yuen Ching Fung also had memories from making this film.
"Working with Uncle Chi was a shocking experience, from at first
the feeling of seeing a giant to the process of working with him I
discovered my shortcoming and nailed it right on the head. I
remembered that after finishing the shoot, I had to spend 3 months to
digest that disillusion because I experienced the difference in
substance. Being able to rehearse with Uncle Chi felt very wonderful
and fortunate!"
Considering Donnie Yen's Ip Man met his end in the previous film, for now no one has any idea on in what way he would appear in the new film
IP MAN 5's concept poster has been unveiled at Cannes courtesy of mingpao.com
The "Strongest in the Universe" Donnie Yen Chi Tan at
this year's Cannes Film Festival announced 3 movies in preparation.
Among them as soon as IP MAN 5's poster was released it immediately
became the media focus! Because the series has already shot its
"final chapter", yesterday Chi Tan and Raymond Wong Pak Ming discussed
the cause behind the return!
Yen Chi Tan for years has liked to challenge different subject
films, like the earlier SAKRA (TIN LUNG BAK BO ji KIU FUNG JUEN) and
his Hollywood film with Keanu Reeves, JOHN WICK 4, all had different
styles. Yesterday Mandarin Motion Pictures at the Cannes Film Festival
announced that it would work with Chi Tan on 3 movies IP MAN 5,
FLASH POINT RESURGENCE (DOH FOR SIN 2) and MIDJUDGEMENT (NG POON) and
released film concept posters. IP MAN 5 and FLASH POINT RESURGENCE
would all be sequels to classic films. Among them IP MAN 5 led to
the biggest response, all because the film including the spin off has
already made 5 movies. In the 2019 release IP MAN 4 Ip Man already
passed away in the film. At the time the film company also pointed out
that it was the subject's "ultimate film", but now it has been
"resurrected" and made many online curious.
The boss of the film company that would invest in the film,
Wong Pak Ming yesterday personally explained the reason. He said, "In
recent years when I met with many film companies around the world,
they would ask to make more IP MAN. Because the previous films
performed very well, Chi Tan and I have examined the possibility, to
make another one at the 15th anniversary of IP MAN. The two of us
have an understanding, first we don't have to repeat anything, we want
to have new methods and new feeling for film viewers. So everything
would wait until the script has been done before further announcement."
As soon as the news of IP MAN 5 surfaced, many buyers went to
ask at the film company's Cannes exhibit stall. FLASH 2 has also
been another focus for buyers. The film opened in 2007, Wilson Yip
Wai Shun directed, Chi Tan, Louis Koo Tin Lok, Fan Bingbing and others
starred. Due to how explosive the action scenes were, the film has
won word of mouth. Now with the sequel after 16 years, would the
original team return? Chi Tan only talked about the reason for the
sequel. "Actually all along I have hoped to be able to continue to
challenge my own limits in Chinese action films. Back then the MMA in
FLASH POINT many are still talking about now. Many people send
videos to ask me how I came up with those moves." Because of this
motivation, he kept thinking about another breakthrough and make a
heart pounding action film. It was also the reason FLASH 2 would
appear.
Chi Tan would also work with the film company on the new film
MISJUDGEMENT, the film's concept poster had the back of the lawyer.
Many online guessed whether Chi Tan would play the lawyer and some
were reminded of the box office hit THE GUILTY CONSCIENCE (DUK SIT DAI
JONG), but Wong Pak Ming said, "Ours will be an action film, completely
different from other films. Chi Tan is highly demanding for action.
I believe no matter what character, what environment, he definitely
would hand over high quality action scenes to repay the audience."
Working with Chi Tan again, Wong Pak Ming was asked if he made
him an astronomical offer to make 3 movies in one breath? He said,
"Chi Tan and I would work on many movies in different ways, not just
these 3. It would be a very long term collaboration that cannot be
measured with money. It would be priceless." Chi Tan also joked,
"With Brother Pak Ming we are about the heart and not the gold."
10 A CITY OF SADNESS (4K DIGITAL RESTORED VERSION)
d. Hou Hsiao-Hsien
Tony Leung Chiu Wai, Li Tien-Lu, Chen Sung-Young, Jack Kao,
Wu I-Fang, Hsin Shu-Fen
Rating : IIA
Length : 159 mins.
Opening April 27 2023
[ BROADWAY CIRCUIT ]
This intimate epic chronicles the tragedies that befall the three Lin brothers, and those around them during a chaotic period in Taiwan's national history, between the end of Japanese Imperial rule (1945) and the secession from Mainland China and creation of martial law (1949-1987).
9 FLASH OVER
Can : Gaing Tin Gau Woon
d. Oxide Pang Chun
Du Jiang, Wang Qiangyuan, Tong Liya, Han Xue, Yu Haoming,
Elvis Han Dongjun, Wang Ge
Rating : IIB
Length : 114 mins.
Opening May 11 2023
Trailer : https://youtu.be/BLoD0b-Qkng
[ CINANDO ]
A mild earthquake ignites a disastrous explosion in a chemical plant,
which wipes out the entire industrial zone. A group of firefighters
put their lives on the line to combat the blaze that is to devour
the neighborhood and demand sacrifices...
8 BORN TO FLY
Can : Cheung Hung Ji Wong
d. Liu Xiaoshi
Wang Yibo, Hu Jun, Yosh Yu Shi, Zhou Dongyu, Bu Yu, Zhai Yujia
Rating : IIA
Opening May 1 2023 in Mainland China
Opening May 4 2023
[ CINEMA CITY ]
BORN TO FLY tells the story of a special operations team headed by elite pilots, being ordered to test new fighter jets. Test flight after test flight, they continue to challenge the sky and the limits of themselves.
7 OVER MY DEAD BODY
Can : Sei Si Sei Si Sei Sup Sei
Lit : Corpse Died At Forty Four
d. Ho Cheuk Tin
Teresa Mo Shun Kwan, Ronald Cheng Chung Kei, Wong Yau Nam,
Jennifer Yu Heung Ying, Edan Lui Cheuk On, Alan Yeung Wai Lun,
Lau Kong, Bonnie Wong Man Wai, Wu Lai Ying, Jer Lau Ying Ting,
Hanna Chan, Jiro Leung Sheung Ching, Kenneth Cheung Moon Ting,
Josie Ho Chiu Yi,
Rating : IIB
Length : 119 mins.
Opening March 10 2023 at the Osaka Asian Film Festival
Opening April 4 2023
Teaser : https://youtu.be/57EFTCutFek
Site : https://www.oaff.jp/2023/en/program/op.html
[ OSAKA ASIAN FILM FESTIVAL 2023 ]
Welcome to Seaside Heights, a fancy residential building where a group of residents experience a night of chaos and comedy after the nude body of a man appears and threatens to cause scandal and plunging property values!
It all begins when Ming, together with his wife, mother-in-law, and brother-in-law, finds an anonymous naked body lying at their doorstep. Fearing that the presence of a corpse will turn their unit into a "murder home" and its property value will nosedive and impoverish them, their bickering family unite to pass the buck to their neighbours by moving the corpse to other units on the same floor. Their fiendish plot ropes in a motley bunch of people, including retired elderly couple, Mr. and Mrs. CHAN; a single lady and her maid; the CHEUNG's, an irascible father and his cantankerous son; and an overzealous security guard. Last but not least, is a mysterious chain smoking woman named Sue who might hold the key to helping get the body out of the building...
A dark comedy of manners and Hong Kong home-ownership woes ensues in "Over My Dead Body" as each of these vividly portrayed characters turns on each other in an effort to avoid taking responsibility for both the body and their own personal problems.
6 EVIL DEAD RISE
d. Lee Cronin
Mirabai Pease, Richard Crouchley, Ann-Maree Thomas
5 HYPNOTIC
d. Robert Rodriguez
Ben Affleck, Alice Braga, JD Pardo
4 MAD FATE
AKA : FATAL FATE
Can : Ming Ong
d. Soi Cheang Pou Soi
Gordon Lam Ka Tung, Lokman Yeung,
Berg Ng Yin Yip, Peter Chan Cham Man, Ng Wing Sze,
Bonnie Wong Man Wai, Ko Tin Lung
Rating : IIB
Length : 109 mins.
Opening February 19 2023 at the Berlin Film Festival
Opening March 30 2023 at the Hong Kong International Film Festival
Opening April 20 2023
Opening April 27 2023 at the Udine Far East Film Festival
Site : https://www.berlinale.de/en/2023/programme/202307420.html
Site : https://www.hkiff.org.hk/film/getdetail?fid=2358
[ HONG KONG INTERNATIONAL FILM FESTIVAL ]
When a fortune teller predicts that a psychopath is destined to commit murder, he uses the powers of feng shui and metaphysics to change the course of events. A thematic continuation of his classic films about the neverending struggle between fate and free will, Soi Cheang delivers a gripping thriller with intensity and panache, powered by producer Johnnie To and screenwriter Yau Nai-hoi. Gordon Lam and Lokman Yeung are extraordinary as two men standing at the edge of sanity, as they fight an invisible enemy. Berlinale Special.
[ BERLIN INTERNATIONAL FILM FESTIVAL ]
The sky above Hong Kong is not just heavy with clouds and rain, it also contains astral signs and dark omens in this esoteric neo-noir. In a radical and counter-intuitive move, rather than having the characters' trajectories converge towards the end, the plot instead knits their fates together from the start. Crossing paths at the scene of a heinous crime in a brothel are the serial killer perpetrator and the upstanding detective chasing him, but also a delivery boy obsessed with blood and knives and an occultist feng shui master who had predicted the victim's gory fate without being able to prevent it. The last two quickly form an unlikely pair, and this transforms the film into a surreal, hyperkinetic, expressionist buddy thriller. The horoscopes confirm that the boy will soon succumb to his bloodthirsty temptations, but to redeem past failures and save him from his fate, the fortune teller is willing to do anything. As the investigations gather pace, the pair sinks into delirium in a whirlwind of superstitions, rituals and distortions, against a backdrop of an alchemical metropolis.
3 THE SUPER MARIO BROS. MOVIE
d. Aaron Horvath, Michael Jelenic
Illumination Animation
English Voices: Chris Pratt, Anya Taylor-Joy, Charlie Day,
Jack Black, Seth Rogen
2 MARRY MY DEAD BODY
Can : Guan Yu Ngor Wor Gwai Bin Sing Ga Yun Dik Na Gein Si
d. Cheng Wei-hao
Greg Hsu Kuang-Han, Austin Lin, Gingle Wang,
Tsai Chen-nan, Tuo Tsung-hua, Ma Nieh-hsien
Rating : IIB
Length : 129 mins.
Opening April 1 2023 at the Hong Kong International Film Festival
Opening April 27 2023
[ HONG KONG INTERNATIONAL FILM FESTIVAL ]
During a pursuit, homophobic police officer Ming-Han inadvertently picks a red envelope off the ground and becomes roped into a ghost marriage with a dead man named Mao-Mao. To get rid of his ghostly groom, Ming-Han agrees to help Mao-Mao find the culprit behind his death. Previously best known for scaring audiences with The Tag-Along series, director Cheng Wei-Hao proves himself to be one of the best genre directors in Taiwan cinema with a rambunctious high-concept comedy that has the comic energy of an old-school Hollywood farce.
[ BROADWAY CIRCUIT ]
Ming-Han is a passionate policeman in a muscular shape. One day, in the process of arresting a criminal with his beautiful colleague - Zi-Qing, Ming-Han accidentally picks up a red envelope, and a group of people suddenly jumps out to call him "son in law". They ask him to get married with their dead child, who is a dead guy! It is impossible for Ming-Han to accept this decision. However, he doesn't expect to be in misfortune since then. What is even more terrifying is that he begins to see his ghost husband Mao-Mao that scares Ming-Han to death. Therefore, Ming-Han visits a great master to get rid of Mao-Mao. The master tells him that he must get married to Mao-Mao and check Mao-Mao's wish lists; otherwise, Mao-Mao will follow him forever. To get rid of Mao-Mao, Ming-Han has no choice but to help him fulfill all his wishes; at the same time, Mao-Mao also acts like Ming-Han’s partner to help him with the investigation of drug smuggling. A fantasy journey full of laughter and tears between a straight man and a gay ghost has begun.
1 GUARDIANS OF THE GALAXY VOLUME 3
d. d. James Gunn
Illumination Animation
Chris Pratt, Zoe Saldana, Dave Bautista, Karen Gillien,
Pom Klementieff, Sean Gunn, Chukwudi Iwuji,
Will Poulter, Elizabeth Debicki, Sylvester Stallone
English Voices: Vin Diesel, Bradley Cooper, Maria Bakalova
Wong Yau Nam in the new film TALES OF THE OCCULT: BODY
AND SOUL (SUT HUNG HUN GAN ji JUI YU SAT)'s segment RAPUNZEL (TAU FAT) played a
hair salon boss. Before the shoot he went to learn from a star class
hairstylist and said that he absolutely could not have any mishap with
how he held the pair of scissors. In the film he showed no mercy,
after drugging Kiki Cheung Hoi Kei he dragged her across the floor and
almost pulled out her hair.
Soi Cheang feels that the idea of man overcoming fate is very hard to realize. He tends to believe that state of mind changes fate.
Soi Cheang says that Yau Nai Hoi's script is spot on, making him who loves to make script changes to accept his original ideas in making MAD FATE
Lokman Yeung and Gordon Lam's performances have received praises courtesy of mingpao.com
Director Soi Cheang Pou Soi directed the film MAD FATE
(MING ONG), which revolved around fate and metaphysics. He claimed
that the spirit of Ah Q, when life and career fell into a period of
loss he relied completed on the idea of "state of mind decides fate"
to get over the hard times. Speaking of working with screenwriter Yau
Nai Hoi, who he has known for years, for the first time, Cheang Pou
Soi revealed that the process ran into enormous hardship; but he
discovered that as long as he adjusted his state of mind, willing to
toss away ideas that he has stubbornly held on to, he was able to
find a new way out and resolved the fear that troubled him for 19
years. He said, "I used to feel that for me to make a comedy, it
would be more horrifying than watching a horror film."
Cheang Pou Soi in 2004 directed HIDDEN HEROES (JUI GIK 8 Yuet
15), which made HK$ 9.74 million at the box office. Despite the decent
performance he has rarely made a comedy since then, as he strongly
attacked his expertise of action, horror and suspense subjects. After
19 years, he in MAD FATE worked with screenwriter Yau Nai Hoi and
changed his filmmaking direction. "The Nai Hoi I know isn't a
screenwriter who messes around and slacks off. When I read the
script, I already sensed the humor. I didn't deliberately made MAD
FATE into a comedy. I made it seriously like a drama and hoped that
everything flowed out naturally."
Cheng Pou Soi remembered when he went to the cinema for MAD
FATE audience appreciation events. "When I heard the audience's
laughter, I felt a strong sense of satisfaction. Because the movies I
made have more intense atmosphere, usually the viewers would not make
any noise. However this movie inspired me, and increased my
confidence. I no longer resist making comedy, from now on I would
dare to try."
Changing the script while making a movie was something that
used to happen constantly with Cheang Pou Soi, but this time he and
Yau Nai Hoi mutually respected each other. He let Yau's script drive,
while Yau Nai Hoi also would not have extra opinions on his production
method. The collaboration was very pleasant. "When I made movies
before, I would add my own ideas into the script. When the
screenwriter wrote three things, I would skip making two of them.
However this time I know the script is much more complicated, all the
destined, coincidence, fate are connected. If I move one thing it
would cause a domino effect and everything goes wrong. I have to be
very careful in the handling, I can't just ignore the script to please
myself."
Was this the most well behaved time for him as a director?
Cheang Pou Soi laughed, "Yes, you can say that." Would they make a
comedy next time? Cheang Pou Soi said that he did not know yet, he
and Yau Nai Hoi had an understanding that they would want to work
together again. They had a very initial concept, ultimately Yau Nai
Hoi needed time for his ideas to brew.
MAD FATE examined fate with the general public, whether in
the mortal world "man would conquer fate" or "destiny is hard to go
against". Cheang Pou Soi felt that the idea of man conquering fate
was very hard to realize, instead he tended to believe in state of
mind would change fate. Speaking of his daughter's tumor being
caught when she was little, he and his wife cried but still held out
hope. After his daughter's operation the tumor was confirmed to be
benign. Her health has been great as this year she would turn 14.
"I don't know whether the strength in facing the matter was able to
change the result, or was the result already predetermined? At least
the attitude of holding onto hope wouldn't be wrong, in life people
have to have the motivation to face problems."
Cheang Pou Soi loved to use strange ways to explore the
filmmaking feeling. He revealed that in order to explain the important
role "Heaven" played, he thought about using birds, crows, hawks or
children to symbolize it. After quite awhile, in the end he felt that
none of them was suitable. He instead used astronomical phenomenon.
"For this movie I shot the sky for half a year at home, from morning
to night. My wife couldn't bother with me. I wanted everyone to feel
the sky but didn't want to be too supernatural. However I was also
afraid that the audience would not understand, thus I used effects
like colorful clouds, birds taking off to the sky in the rain, and
lightning. Luckily the audience said that they sensed man was
struggling again heaven."
Speaking of the hardest scene to shoot, Cheang Pou Soi brought
up the cafe scene. It involved too many people and was an important
turning point of the film. He said that during the shoot he could not
sense the tense atmosphere, maybe because the schedule was rushed and
the location was small. He could only use multiple angles and
coordinated with editing to bring out the tension; the rooftop ending
also had 3 versions before he was able to decide which way to go.
Irene Wan spends 5 years to make the autobiographical film LONELY EIGHTEEN, which will open in June. She looks forward to it very much courtesy of mingpao.com
The Irene Wan Bik Ha produced film LONELY EIGHTEEN
will open in June. The film theme song JOURNEY OF LIGHT AND SHADOW
would not only be performed by her but its music video would also be
directed by her in an all new attempt.
When Irene heard the song's demo she already really liked the
song's melody. She invited music make Tsui Ho to write the lyrics and
the visuals from the film then appeared in the song. As a first time
music video director, Irene invited the film THE FALLEN (DOR LOK FA)'s
cinematographer to assist with the production. The music video
featured "black and white" concepts. Irene explained, "I want to
coordinate with the film' story of a young girl growing up. I want to
have a type of nostalgia of remembering the past in the diary. The
cinematographer even used a hand held cameras throughout to make the
sense of motion and art stand out." Irene had her fill of directing
fun from her first time at the helm of a music video. Would her goal
be directing a film? Irene said, "I want to, but I am afraid I
wouldn't be able to handle it. The sense of satisfaction is still a
little greater from being a producer. From casting to controlling the
entire production, the creative space is also greater. Although
directing would have a greater sense of accomplishment, I still want
to mainly act. Being a film producer I would learn more stuff!"
Irene has a film office, and has produced her films LOVE IN
LATE AUTUMN (OI JOI SUM CHAU) and THE FALLEN. This time her third
film as a producer LONELY EIGHTEEN (NGOR MOON DIK SUP BAK SHUI) would
be released at the end of June. The film would be based on her real
life experience, document the journey from her rebellion in her
adolescence, to the obstacles she ran into in entertainment and
transformation. For perfection, Irene pointed out that the film took
5 years to make. Just the script alone took almost 3 years to write.
"From the experience of producing two past movies, I want to take my
time. In addition I participated in the script and the production,
and I am very pleased with the result. It feels like my baby being
born. I also look forward to everyone seeing my effort."
Because LONELY was about the experience of her growing up,
Irene had many memories and sentiments brought back during the shoot.
"In one scene the child who played me at age 5 was getting hit by
Papa. I was behind the mon(itor) and recalled when I was little how
strict Papa disciplined me, but Papa was much older than I was. We
had a big gap between us and thus never communicated. I was very
rebellious, in the end I left home." Irene knew that her parents
loved her, but they did not truly understood what she liked. In
addition, the living condition in Tiu Keng Leng was very poor. Rain
often leak into the home. When she was little she only had soy sauce
with rice. These experience would make her learn to cherish everything
she had. "Because of these childhood experience, I wanted to make a
world for myself so my family would be able to live even better."
Recently Hong Kong film box office repeatedly set records.
Irene said that she also had certain confidence in the film. In
particular her new film would be about the story of growing up and
childhood memories that everyone must have experienced, she believed
that it would also triggered a lot of sentiments in the audience and
viewers would be able to relate to it.
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