Angela Yuen has held back for a long time and decided to muster up the courage to uncover her scars
With similar experiences, Fish Liew appreciates Angela Yuen for speaking up and watches over her
Jennifer Yu forwards the long post and supports Angela Yuen with action
Jace Chan at an event states that she absolutely would not tolerate anything simiilar happening again courtesy of on.cc
Angela Yuen criticizes issues like the misogynistic culture and sexual harassment, receiving praises from within the industry for daring to speak up
Chung Suet Ying through social media publicizes a capture of a reporter's criticism of WE ARE BORN GOOD, stating that he is trying to get attention for his wild comments
Amy Lo enjoys bag shopping, which does not interfere with him making money for his family
Jace Chan encourages other women to bravely express their own views, especially when running into sexual harassment they even have to immediately speak out against it courtesy of mingpao.com
Chung Suet Ying expressed her displeasure after culture
journalist "Red Eye" (Wong Wing Leung) described her new film, WE ARE
BORN GOOD (SIN NAM SHUN NUI), as a "rare erotic performance" in her
career, stating frankly that she found such sensationalist language off-
putting. Angela Yuen Lai Lam followed suit by speaking out against
misogynistic culture; early yesterday morning she published a lengthy
post titled "The Apology That Will Never Come" on social media. She
revealed that during a previous interview with "Red Eye" to promote the
film GAMER GIRLS (DIN GAING NUI HAI), he humiliated her by saying, "It
feels like I'm sitting at a hostess table." She also disclosed that
since entering the industry, she had experienced verbal and even
physical sexual harassment from directors, cinematographers, and senior
actors. The incident sparked a massive response; the Internet praised
their courage, and numerous figures including award-winning actresses
Jennifer Yu Heung Ying and Fish Liew Chi Yu, TV Best Actresses Myolie Wu
Hung Yi and Natalie Tong Sze Wing, singer Serrini, and influencer Coffee
Lam Chin Yu, left messages of support. The journalist involved
explained that he had made a "terrible joke," acknowledged his gaffe,
and issued a formal apology.
Triggered by the way Chung Suet Ying had been unfairly
characterized as giving an "erotic performance," Yuen Lai Lam reposted a
column she had previously written for "CITY MAGAZINE" on social media
yesterday, drawing widespread attention. In the article, she recounted
her dissatisfaction when the journalist likened the actresses of GAMER
GIRLS to nightclub hostesses -- a remark for which he offered no
apology. She wrote, "The male journalist, who serves as editor-in-chief
for multiple cultural magazines and is a recipient of local literary
awards, sat down and immediately opened with the line, 'It feels like
I'm sitting at a hostess table,' casually sexualizing a serious film
interview and framing it in the context of a nightclub." Instead of
apologizing immediately for the slip-up, he tried to make excuses; Yuen
reiterated that "that remark was highly inappropriate" and demanded he
"shut up or apologize." The interview proceeded as planned, but Yuen
described feeling forced to suppress her emotions at the time, even
going so far as to blame herself—wondering if she had been
"insufficiently gracious or polite" or had "disrupted the flow of the
interview."
In her writing, she recounts years of experiences involving
verbal harassment, gratuitous sexualization, and belittlement by men,
much of which occurred after she entered the industry. For instance, a
male director bluntly remarked that her "look" wasn't the type that made
men want to sleep with her, while an intoxicated on-screen colleague
asked her in Japanese, "Do you like my [genitals]?" A male actor teased
the camera crew, claiming they had positioned the jib crane to get a
high-angle shot of another actress's cleavage; even worse, a senior
actor repeatedly joked on set that she was looking for an excuse to kiss
him, only to improvise a kiss, one not in the script, without any prior
discussion. Yuen Lai Lam speaks candidly about the heavy price of
speaking out publicly. Whenever a woman accuses someone of misconduct,
society tends to follow a familiar script: questioning the victim's
motives (accusing them of seeking fame), scrutinizing why they did not
resist immediately, and ultimately resorting to character assassination.
This harsh moral judgment, often far more severe than the scrutiny faced
by the perpetrator, creates a chilling effect that caused many victims
to remain silent. Every "little joke" and every criticism asking why a
victim could not "be a good sport" serves to reinforce a system that
permits the objectification of women. She states, "What society needs
is not merely an apology that will likely never come, but a complete
overhaul of the cultural landscape. We must stop viewing such offenses
as isolated incidents and instead confront the underlying systemic
issues that deny women their agency and professional dignity."
Yuen Lai Lam and Chung Suet Ying have never publicized that
culture journalist's identity. Wong Wing Leung, a cultural journalist
known by the pen name "Red Eye", publicly apologized for the incident
involving Yuen Lai Lam and Chung Suet Ying. He admitted to making "two
very poor, highly inappropriate jokes," noting that he was aware at the
time that Yuen Lai Lam found them offensive. Red Eye expressed deep
shame, acknowledging that after his gaffe, the interview could only be
completed thanks to other interviewees stepping in to smooth over the
awkward situation. He admitted that failing to offer a formal apology
to the interviewees at the time was a case of "poor handling." He had
been unaware of the deep distress his words caused Angela Yuen and the
others; it was only upon learning early yesterday morning that Yuen Lai
Lam had revisited the incident that he realized the repercussions of his
gaffe. He expressed a desire to offer a sincere apology to Yuen Lai Lam
and the other interviewees. He stated that he "had no intention of
arguing his case," acknowledging that he "often speaks without a filter
and says the wrong thing, often in an unseemly manner." He cited a
recent example from last weekend, where he posted careless remarks on
social media after watching the production WE ARE BORN GOOD; realizing
how inappropriate that was, he apologized repeatedly for his behavior.
However, the public remained unconvinced, harshly criticizing the
apology for relying on "wordplay" while failing to include the actual
words "I am sorry." Numerous industry figures, including award-winning
actress Yu Heung Ying, TV Best Actress Wu Hung Yi, Jace Chan Hoi Wing,
Kayan9896, and Kaki Sham, voiced their support for Angela. Yu Heung
Ying shared the lengthy post to back her, while another award-winning
actress, Liew Chi Yu, revealed in an interview that she had experienced
similar incidents. "I’ve encountered such situations frequently, both
while growing up and after entering the industry, though I cannot fully
articulate them in a few words, nor do I intend to cite specific
examples. I was deeply moved after reading Angela's post last night; I
am grateful to her for writing it so coherently and bravely. I hope
everyone reads the entire piece carefully, her intention was not to
stoke gender conflict, so please do not take her words out of context."
As the incident continued to unfold, Yuen Lai Lam issued another
statement emphasizing that neither she nor Chung Suet Ying would
publicly reveal the journalist's identity. She noted that within the
industry, a person's specific identity is less important than the issue
itself, and the aim of her post was not to expose the name for the sake
of public trial or to damage anyone's career. She received widespread
support, with many praising her for setting a positive example. Yuen
Lai Lam responded, "If I, possessing some degree of a platform, am
afraid to take action, what hope is there for the little girl hiding in
the corner?" She insisted she did not wish to be put on a pedestal,
describing herself as an ordinary young woman who also experiences
nervousness and internal struggle.
Jace Chan and Anson Lo Hon Ting (AL) attended a brand event in
Tsim Sha Tsui yesterday. The former is filming the Hong Kong version of
"LONG VACATION" and plays a couple with Anson Kong Ip Sang (AK). She
said, "There are some emotional scenes, but there are no intimate
scenes." Jace learned that Yuen Lai Lam had published a long article
online regarding sexual harassment in the workplace. She admitted that
it resonated and felt that Yuen Lai Lam did very well. "The article is
right, not to target someone but the entire culture; how can we do a
little better. Regarding gender and respect, we can add more
understanding and discussion. Actually many girls have had similar
(sexual harassment) experience, on which traditional education seems not
to have trained us how to handle. We ever worry that once spoken up,
would we be accused for 'thinking too much' or 'the problem is me'?"
Jace also had an unpleasant experience, "When I just started in
the business and worked on a movie, the photographer said, 'Raise the
camera high from an overhead shot', 'set up POV and see'. I would
directly reflect, 'Don't say that, it makes me feel comfortable'. He
immediately responded, 'Sorry, I didn't mean it'. I have run into
even more excessive incidents, including being touched on the hip or
chest, some disrespectful words. Sometimes I feel very scared, may not
dare to express immediately. Later I get mad at myself, and only know
how to walk away with a smile." She also said, "In similar
situations, not everyone know to express themselves. Thank you ladies
(Yuen Lai Lam and Chung Suet Ying) for bravely responding and setting a
good example." She encourages girls with similar issues to be brave
and express themselves. "No one should be afraid, we need to
communicate more in hopes of everyone having room for improvement."
Ci Sha, Simon Yam and Amy Lo work together on MASTERMIND. The two young actors both see Brother Wa as their role model courtesy of mingpao.com
The four Best Actors Louis Koo Tin Lok, Simon Yam Tat Wa,
Gardner Tse Kwan Ho, Eddie Cheung Siu Fai and the young new generation
Ci Sha and Amy Lo Wai Man starred suspenseful crime action film
MASTERMIND (JING JIN) is in release in Hong Kong. In the film Ci Sha
and Lo Wai Man received acting lessons from their elders, reflecting the
passing of the torch. Off screen they also felt the professionalism and
way the elders live, and benefited a lot.
Yam Tat Wa in MASTERMIND appeared with long hair and beard to
play the big villain role. He said that he has not been with long hair
for a long time, and this time the role was very domineering and had a
strong desire for control. In the film Brother Wa needed special effect
make up, but the shoot took place in the scorching Hong Kong summer.
The temperature was over 40 degrees Celsius with lighting in the studio.
"A scarred face wasn't AI but really special effect makeup. Because it
was too hot, the make up required constant air conditioning and touching
up. After two full nights of fight senes, one side of my face was cold
but the other side was sweating just like 'Chung Mo Yim'. After the
shoot I had a skin reaction, needed to see a doctor and take
medication." Yet he pointed out that Ci Sha had a even more difficult
time. He grew up in the north, despite constantly sweating he still
coordinated with the fighting, without any complaints and was very
dedicated. Brother Wa for the first time worked with Ci Sha, and felt
that he was young and talented; a very creative professional actor who
familiarized himself with the script before every performance, then took
the initiative to discuss with the director how to perform the best.
In the film Brother Wa had to slap Ci Sha hard. The shot took 5
total takes. Both insist against using cheat cut, Brother Wa's heart
ached for Ci Sha for being slapped by him five times. Ci Sha in turn
said that it was not rough at all and even praised Brother Wa for
hitting very professionally. "The force was a range that I can bear, as
a professional actor, whatever should be in the theatrical task I should
also be able to complete."
Lo Wai Man played the forensic doctor for the first time, doing
her homework before the performance to get close to the role. Brother
Wa said that Amy often kept her eyes fixed on him and Ci Sha on the set,
and treated them like "dead bodies". Amy explained that she wanted to
put herself into the role faster. She even studied the anatomy books to
understand the muscle arrangement, and made a non-medicated rose
perfume. Because in the film she had non-medicated rose nail polish,
she put on this perfume as soon as she put on the costume in hopes of
helping herself getting into the role faster. Amy also has a large
number of gun action scenes in the film, on the set several stunt team
big brothers have reminded her to keep a firm footing. She was
interested in shooting and has practiced, the resulting performance at
the shoot also surprised everyone. Amy wanted to try more in the
future, and she would not mind in order to be an action actress.
Two young new generation actors have benefited a lot from
working with elder Yam Tat Wa. Amy admitted from Brother Wah she has
learned to "handle with ease". Off screen Brother Wa is very friendly,
a big brother who would ensure that everyone was at ease on the set. On
screen he is a professional actor who can immediately get into the
role on the spot, without looking at the post production editing his
acting could already be completely imagined. Ci Sha also had the same
feeling. From Brother Wa he has learned as an actor he not only had to
be literate, but also be kind and friendly to people; which is worthy
for them to learn from.
Ci Sha stated that he was a little nervous about working with
several Best Actors on the new film. He was born in a remote region.
After learning that Koo Tin Lok has donated money to build many schools
in the mountain region, his respect for him has been building for a long
time. Being able to work with him this time felt very special. "In the
film he is a godlike idol, teaching me skills and about life; off screen
I also feel how great he is. In the past I have enjoyed his film and
television work, and seen him done a lot of charity work. Thus on and
off screen I respect him very much."
Yeung Nga Man (starting left), Elaine Jin and Catherine Chau through BIRD OF PARADISE share the search for self worth and the experience of generational reconciliation between three generations of women
Catherina Chau suffers fractures from practicing hard on pole dancing and has to stop work. She admits that the psychological pressure can rival the physical pain
Yeung Nga Man makes her big screen debut, as BIRD OF PARADISE and GOOD TRIP are released around the same time courtesy of mingpao.com
The film BIRD OF PARADISE (MA YEUNG NIN WA) centers on
themes of women seeking self-worth and reconciling across generations.
Elaine Jin (Kam Yin Ling) and Catherine Chau Ka Yee star as mother and
daughter for the first time; Chau also bonded with co-star Yeung Nga Man
(THAIMAY) while undergoing rigorous pole-dancing training. Off-screen
and on, these three actresses, representing different generations,
grapple with confusion, emotional wounds, and personal obsessions,
ultimately learning to embrace their true selves through dance and the
passage of time. The 71 year old Kam Yin Ling took up singing to pursue
her dream of performing at the Hong Kong Coliseum; the 47 year old Chau
Ka Yee obtained a racing license to join a team for professional
competitions; and the 24 year old THAIMAY has a simpler goal: to travel
abroad and broaden her horizons.
Chau Ka Yee has long expressed a desire to work with Kam Yin
Ling, now that dream has finally come true. On their very first day of
filming, they shot the movie's most poignant scene: a heart-to-heart
between mother and daughter on the beach. Kam Yin Ling praised Chau Ka
Yee's deeply moving performance, noting that acting opposite her was a
delight. Chau Ka Yee, in turn, remarked that Sister Kam's commanding
presence helped her instantly immerse herself in the role; she was
particularly overcome with emotion when Kam delivered lines about her
father. "The moment she spoke about Papa, wow! My eyes already welled
up. That sense of genuine warmth made it so easy to get into
character."
While the mother character appears scatterbrained and comical
throughout the film, the beach scene reveals her most grounded and
sincere emotions. In real life, Kam Yin Ling is equally candid in her
relationship with her daughter. Speaking about missing her daughter's
wedding in Spain last year, she explained, "I had divorced my ex-husband
when my daughter was nine; I didn't want to see him or pretend that
everything was fine. Fortunately, my daughter understood and accepted
this." Before the wedding, her daughter came to Hong Kong to choose a
gown and invited Kam Yin Ling to take traditional Chinese-style wedding
photos as a keepsake. She initially turned down the idea but later
realized she had overlooked her daughter's wishes and feelings,
prompting an immediate apology. "I thought she was picking the dress
too early and that shopping in Hong Kong was inconvenient. I even
called a halt to the 8 a.m. photo shoot because I was worried my face
looked puffy. It turned out she just wanted Mama's love and company; if
I hadn't participated at all, her wedding would have been left with a
regret. So, I immediately asked a friend for help, and we successfully
completed the shoot." When asked if she was eager for grandchildren,
she shared her own experiences and advised her daughter to think
carefully before having children. "Back then, I gave up my acting
career and moved to the UK to have my daughter. I didn't go out to eat
for the first two years of her life; I felt like I had lost my sense of
self and was very unhappy. I suffered from postpartum depression and
cried constantly." It was not until her daughter started school at age
four that she rediscovered herself through learning Latin dance.
To pull off the pole dancing scenes, Chau Ka Yee and "THAIMAY"
paid a heavy price. Lacking sufficient muscle mass due to inadequate
protein intake, the former pushed herself too hard, suffered a cracked
rib, and caused production to halt for a month. She recalled, "I was
terrified. My rib was cracked but filming wasn't finished. The crew
was waiting for me. The mental pressure was immense." She joked that
the ordeal turned her into a "woman easily prone to injury." Overcoming
the pain to execute high-difficulty moves proved to be a greater
challenge than wearing the revealing dance costumes. Meanwhile, 24-
year-old THAIMAY pushed past her limits in just two or three months,
successfully mastering the difficult "left leg hang" move. Despite
having a background in dance, the friction of the pole against the
tender inner thighs caused excruciating pain, akin to "wringing out a
towel", and bruising or blistering became the norm. "It was truly
painful; I had to wait for the wounds to heal before practicing again,
but the process also taught me a more elegant and feminine aesthetic of
movement."
THAIMAY plays a student with many admirers. Yet in real life,
she self-deprecatingly admits to having been quite submissive in past
relationships, often treated by boys merely as "one of the guys." She
laughs, "In the past, I didn't dare confess my feelings to the person I
liked; instead, I'd help them pursue other girls just to get closer to
them." She also reveals a story about a failed first love. "I was very
shy back then. The most intimate interaction I had with my boyfriend
was studying together in a quiet study room, each in our own cubicle,
without even holding hands. He felt it didn't really count as dating,
which left me heartbroken for a long time." Today, her perspective on
romance has shifted significantly. "I'll take the initiative to pursue
a guy, cater to his interests, and drop hints."
Kam Yin Ling notes that she has recently discovered singing
helps prevent the aging of the brain and throat. Consequently she has
taken up singing again and hopes to appear as a guest performer at the
Hong Kong Coliseum. "At this age, one must still have dreams and be
prepared for opportunities when they arise." Chau Ka Yee has obtained a
racing license and hopes to form a team for professional racing; she
says, "Auto racing is a passionate sport. I'm currently looking for
sponsors and hope to make it happen next year." Regarding
relationships, she takes a "let nature take its course" approach,
finding inner peace through meditation and Zen practices. THAIMAY hopes
to host travel shows or attend film festivals to broaden her horizons.
"I visited Angkor Wat in Cambodia and was deeply moved; the stone
architecture possesses immense artistic craftsmanship and beauty."
First time Busan Film Festival participants Lokman Yeung and Hedwig Tam have Maggie Siu by their side and feels a little more secure
Fala Chen remembers to get a photo with director Zhang Yimou courtesy of on.cc
The Isabella Lam Lok Hin written and directed, Soi Cheang Pou
Soi produced Hong Kong film DEAD END (BEI SAT DIK NA TIN) was officially
selected for the 31st Busan International Film Festival "Vision Asia"
competition section, and completed the world premiere in South Korea on
October 10th. Lam Lok Hin led the stars Lokman Yeung, Hedwig Tam Sin
Yin and Maggie Siu Mei Kei to Busan to attend the red carpet and the
post screening talk and interact face-to-face with the local audience.
The film was the 7th "First Feature Film Initiative" Higher Education
Institution Group award-winning project, and also the first feature film
of Lam Lok Hin. The story revolved around a family death that has been
sealed for many years, exploring trauma, memory and human nature in a
suspenseful way. On the day of the premiere, the three actors had their
own characteristics: Lokman Yeung appeared with a black leather coat
with a shirt and tie, Tam Sin Yin wore a beige knitted top with a long
skirt, and Siu Mei Kei showed her ability in a black suit. The four of
them took a photo together in front of the poster to witness the work on
the international stage.
The premiere attracted a group of Hong Kong fans to fly to
Busan, bringing together the support items to cheer the team and making
the atmosphere more lively. In the post-screening exchange, Yeung Lok
Man said that this was the first time he watched the work on the big
screen. The details and emotions were magnified and he got into the
story even more. He was surprised by the depth of the audience's
questions. "People from different cultural backgrounds, with their own
perspective, interpret our city, the process is very interesting." The
host mentioned that similar social phenomena have appeared in South
Korea in recent years, which has resonated with local audiences. Yeung
Lok Man could not believe it. "The film can resonate across regions,
which is exactly its magical power." Lokman participated in the Busan
Film Festival for the first time and was both excited and nervous. He
said being able to bring the work to meet the audience from around the
entire world was a very valuable experience. He thanked Siu Mei Kei
for giving him a lot of inspiration on his performance, especially in
handling the delicate and emotional scenes. She would take the
initiative and share her experience for him to get into character as
quickly as possible.
Tam Sin Yin found the enthusiasm of the Busan audience deeply
memorable, referring to how invested everyone was throughout the whole
process. The audience was actively participating in the exchange, and
expressed a strong interest in the origin of the creation and the
concept of the director. Bringing a new work to participate in the
festival after A MONTAGE OF THE MODERN MOTHERHOOD (FU DUK BUT), she was
honored. This trip was particularly unforgettable. Siu Mei Kei
admitted that she was tense at the premiere, not for herself but for the
first time director Lam Lok Hin. "This is the director's first time, I
hope the work is loved, and for more opportunities for collaboration in
the future." She said humorously that only when the director has work,
would the actors and the behind-the-scenes have started. She said that
this character was heavy, during the shoot she never smiled. Because of
the new director and the excellent script she decided to accept the
role. She called on the public to support Hong Kong films. Lam Lok Hin
thanked the film festival for the invitation and the audience for
attending, and hoped that the film would visit more countries and
regions and eventually be released in Hong Kong for local audiences to
enjoy.
The entire Busan region in Korea was rather cheerful, as film
festival related events invited actors from many different nations to
attend. Among them "Hong Kong Night" has already successfully taken
place, artists including Fala Chen, Siu Mei Kei, Lokman, Derek Tsang
Kwok Cheung, Tam Sin Yin and Nancy Sit Ka Yin appeared. Even mainland
director Zhang Yimou showed his support. Reporteldy, Fala Chen this
time would be the "International Film Camp" ambassador and judge and
responsible for evaluating Asia's new generation young directors and
creative talent. At the same time she took time to attend "Hong Kong
night" and had a great time chatting with other guests.
Elaine Jin (center) is happy to work with juniors Catherina Chau (left) and Peter Chan (right) and set off many sparks
Xenia Chong denies deliberately mentioning "bedroom tales" with old flame from the past courtesy of mingpao.com
The film BIRD OF PARADISE (NA YEUNG NIN WA) held a
charity premiere the night before, and actors Catherine Chau Ka Yee,
Elaine Jin Yan Ling (Kam Yin Ling), Peter Chan Charm Man, THAIMAY Yeung
Nga Man, Jayden Cheung Dik Man and the lead singer of the film theme
song Gin Lee Hung Ngai attended.
The lead actress Chau Ka Yee for the film practiced pole dancing
hard. Although the process was difficult, but during the shooting she
was very happy. The relationships between the actors were more like a
family. Chan Charm Man said that when he and Chau Ka Yee, who played
the role of his wife in the film, shot a deep conversation scene, he had
a fever and suffering from influenza A. With cold sweats he spoke
affectionately that day. After the shoot was completed, he also
transmitted the germs to Chau Ka Yee, causing her to have fever, chills
and nausea. Chau Ka Yee also revealed that she was accidentally injured
in order to perform the pole dance. She said that due to the lack of
muscle strength during the early stage of the shooting, when shooting a
scene of lifting up her legs and pressing her body to the pole, her ribs
were cracked due to insufficient support and she needed to stop work for
nearly three weeks. However she did not take the opportunity to be
lazy, instead she used the rest period to strengthen the muscles and
finally successfully completed the shoot. Kam Yin Ling also praised
Chau Ka Yee as very hard working and a very outstanding actor.
As for Chau Ka Yee's recent injury from her online show's auto
racing shoot, she clarified that she had her racing certificate but her
vertebrae cracked from working out. "I am truly a woman who is prone to
injury, and the cause of this injury is lack of sleep and not having
enough muscle. Now I have to take protein supplement."
Gin Lee sang her first film theme song. She was happy to say
that she has mentioned to her colleagues that she wanted to sing a movie
theme song. She did not expect that a month later, another colleague
told her that she had the opportunity to sing. It was really quite a
coincidence. Gin Lee has only made micro-films or made guest
appearances in movies in the past. She has always wanted to be able to
make a movie, and she would not mind playing ugly or villain roles.
Josie Ho (left) teaches Iman (right) set etiquette so he would not panic and be afraid when he takes his mark
Josie Ho says works among the trash is very hard to take, as the location is full of foul stench
Iman plays a cop in the film. With his first step into the film industry he immediately becomes interested
Josie Ho (left) praises co-star Carlos Chan (right) for his professionalism, rolling on the ground in the garbage dump for fight scenes courtesy of mingpao.com
The Josie Ho Chiu Yi starred film THE MAGE (SUP FONG FAT
SI), is her husband Conroy Chan Chi Chung produced and her protege Iman
Taheri starred. The new film has attracted significant attention at
multiple international film festivals. She said that playing a
scavenger was tough, but without the need to play a refined beauty her
concerns was reduced. Crowned as the queen of Hong Kong fantasy films,
Ho Chiu Yi felt overwhelmed and lamented that due to a tight budget, she
could not compare to big commercial films and chose to cut down a big
tree with a knife. A newcomer to the film industry, Iman remembered
that Ho Chiu Yi sprayed his face with water on his first day at work.
Fortunately they got the shot in one take. Ho Chiu Yi revealed that the
sequel, THE MAGE 2, would be released next year with a brand-new story
that would only retain her character. Iman would leap to the male lead
and play a new role.
Ho Chiu Yi revealed that her protege Iman as a police inspector
in THE MAGE was not part of the plan. She did not strongly recommend
him to directors Oxide Pang Chun and Danny Pang Fat. The directors
thought Iman was suitable and even said that he was so handsome that not
acting would be a waste for him, so she helped explain the meaning of
the Chinese lines for Iman. "At the time he just arrived, I told the
directors not to force him to speak so much Cantonese; so most of his
lines were in English. I believe the audience will find his Cantonese
to be very cute after watching. What I can teach him is set etiquette:
not being nervous and timid when taking his mark like 'a rice ball.'
I've been through all these situations before and didn't want Iman to
make the same mistake, because he's very reserved." Iman admitted he
was very interested in acting. Learning Cantonese has not been easy, so
he had to listen and talk more. His most unforgettable moment was the
first day at work, when Ho Chiu Yi sprayed water to "wash my face."
Fortunately the shot was done in one take.
Playing the scavenger, Ho Chiu Yi admitted that every day at
work was really tough. "I have to push the trash cart in the garbage
room and also pick up trash. The team is really nice. They have me
in gloves; but they had holes, so I spend the whole day touching the
trash." She said that changing into costumes and filming at these
locations helped her get into character, making her feel more
comfortable as the shoot went on since she did not have to worry about
playing a refined beauty. However, the environment was indeed very
dirty and disgusting. "The garbage dump scenes were just dangerous. I
was afraid of getting hurt and getting infected by germs. Filming in
the slippery woods was truly the hardest to endure, and it was filled
with the smell of urine. The only benefit of this sacrifice was being
close to my home; I didn't have to worry about being late and I got off
work very quickly." She also had to film fight scenes in the garbage
dump filled with nails and broken glass. Ho Chiu Yi praised her co-
stars Carlos Chan Ka Lok and German Cheung Man Kit for their
professionalism, saying, "They're really crazy, able to fight so hard
that they can roll around on the ground. I really respect them."
In most of her action scenes Ho Chiu Yi had stunt doubles, but
she was very confident with just wire stunts and chose to do them
herself. "When I was very young, filming 'PURPLE STORM' already had
lots of wire stunts; so I was confident. Yet because I was afraid of
the swinging, in one scene where, without any communication, I chose to
fly over, wrap my leg around Cheung Man Kit's neck and then hit hard.
That move was really dangerous for him too, and I thought, I hope I can
get it done in one take. Luckily, the director accepted it. I'm really
sorry to Cheung Man Kit and so thankful for his understanding." She
laughed and said that even the weather helped during that scene. They
have prepared a water truck for rain effects but suddenly there was a
thunderstorm, so they immediately turned off the water truck to save
production costs.
Before THE MAGE was released in Hong Kong, Ho Chiu Yi first
brought the film to the Bucheon International Fantastic Film Festival in
Korea, the Bangkok International Film Festival in Thailand, the Sitges
International Fantastic Film Festival in Spain, and the Hawaii
International Film Festival. The new film was very well received
everywhere. She emphasized that she never deliberately wanted to become
the queen of Hong Kong fantasy films. "I didn't intentionally want to.
The world just pushed me there. Actually, due to tight budgets, we
can't compare with big commercial film companies; so we can only fight
against the giants with small means. After doing this for so many
years, I also want to make art films but they cost a lot. Now with AI
(artificial intelligence)'s help, I hope I can manage it." She revealed
that she immediately clicked with the Pang Brothers this time, filming
two movies in a row, and hinted that THE MAGE 2 is set to release next
year with a completely new story, keeping only her character. Iman will
be promoted to the male lead in a new role, and Gardner Tse Kwan Ho will
join as the ultimate Big Boss.
Missing out on a Golden Horse Award nomination, Stephen Fung calls Yeung Wai Lun (left) the Golden Horse Best Actor to be.
Fellow Golden Horse Award Best Actress nominees Chung Suet Ying (left) and Angela Yuen (right) both say that they are friends and not opponents
Derek Yee hopes for more people to come to make movies in Hong Kong, which would help the industry courtesy of mingpao.com
The 30th Anniversary of the Broadway Cinematheque special
program "bc30 opening ceremony" was held the evening before. Two films
that were both funded by the Cultural, Sports and Tourism Bureau of the
Hong Kong Special Administrative Region and the Hong Kong Film
Development Council were selected as the opening films, including the
"Directors' Succession Scheme" film AFTERPIECE (DAI SEI MOK) and one of
the "8th First Feature Film Initiative" Higher Education Institution
Group winners WE ARE BORN GOOD (SIN NAM SHUN NUI). The main creative
teams of the two films, including Derek Yee Tung Sing, Stephen Fung Tak
Lun, Angela Yuen Lai Lam, Chung Suet Ying, Alan Yueng Wai Lun, Kearen
Pang Sau Wai, Lo Chun Yip and others attended.
The film AFTERPIECE's lead actress Yuen Lai Lam said that she
and director Keane Wong Tak Kin had a lot of connection, and they have
worked together before. He believed that she can not only play the
little white rabbit, but also suitable for playing the big bad wolf.
Thus this time he specifically customized the role for her. However,
because the film had many scenes on the stage, the performance had a
certain difficulty.
Fung Tak Lun in AFTERPIECE had a good performance. Producer
Yee Tung Sing stated that if it has not been nominated for the award, it
would be a "missed gem." He hoped that Fung Tak Lun would be nominated
for the Hong Kong Film Awards in the coming year, and he would even
invite Shu Qi to be responsible for presenting the Best Actor award.
Fung Tak Lun earlier collaborated with Keung To on a commercial, in
which Keung To even ridiculed himself over his fall into the sea. He
revealed that he did not conceive the advertisement as he only provided
a little opinion. His impression was that Keung To also had quite a
sense of humor and easy going personality. "Although I don't think the
incident is funny, but the audience does. The result is good and also
achieves the purpose of the advertisement."
Fung Tak Lun missed out on a Golden Horse Award Best Actor
nomination and joked that he was very jealous of Yeung Wai Lun. That
day he thought that he would receive congratulations but nothing
happened. He thought that his phone was out of battery. Has his wife
Shu Qi consoled him? He said, "Probably not, the only comfort is that
Yee Tung Sing sending me the news of the Golden Horse executive
committee president Wen Tien-Hsiang calling me an 'omitted gem'. It
means that I almost made it, it's OK. I will keep working hard next
year." He said that he was happier that his wife was nominated for
Best New Director for GIRL than if he was, but he would not accompany
his wife to attend the award show. Even if he was nominated, he
believed that his wife would not go with him.
The Secretary for Culture, Sports and Tourism, Rosanna Law Shuk
Pui recently said that the Hong Kong SAR government is fully reviewing
the Film Development Fund, with the goal of making the Hong Kong film
industry flourish again and encouraging more films to be filmed in Hong
Kong. Yee Tung Sing also hoped that the government could relax funding
for the industry, for example, the First Feature Film Initiative should
not be limited to the director's first directed work; even the second
work should be funded so that the new director would have more
opportunities to perform. "We need to give new directors more
opportunities. If we don't graduated students more opportunities, for
them to enter the industry directly would be impossible. I feel this
is a foundation, and also hope that the Professional Group would have
a bigger quota. When the market is poor, we need to do a litte more
here." He said that he learned that Secretary Law has been actively
assisting the industry, knew that she needed to deal with many things
and the industry often troubled her. If she would be able to help the
industry with finding some shoot locations such as government venues,
then she would be able to reduce production costs. Yee Tung Sing also
believed that being able attract films from different places to come to
Hong Kong for filming was good, and could increase the job opportunities
of Hong Kong film professionals.
In addition, Chung Suet Ying in the film WE ARE BORN GOOD needed
to have red paint thrown at her and to be up close with a large number
of cockroaches. Fortunately she was not afraid of cockroaches. She
only worried that they would spread germs.
Chung Suet Ying won the Golden Horse Best Actress with THE WAY
WE TALK (HONG NGOR GUM TIN GUM MOR SUET) two years ago and was
nominated again this year, leading to online comparison between her and
Maggie Cheung Man yuk. She said, "The comparison is impossible,
because everyone is different." She, Yuen Lai Lam and Jennifer Yu
Heung Ying's Golden Horse Best Actress category has been referred to as
the "group of death". She was happy that she was nominated and WE ARE
BORN GOOD was nominated for Best Feature Narrative, but disagreed that
she was in thee "group of death". "It's 'the full of life group'. Out
of the 5 nominees 3 are from Hong Kong. I am very happy. Our
relationship is pretty good." When she and Yuen Lai Lam posed for
photos they jokingly pretended to elbow each other. Yuen Lai Lam said
that the nomination made her feel "a little proud" and thanked the
director for tailoring the role for her. As for her confidence of
winning, she said, "I am very chill, it would be like going to a party.
I am friends with Chung Suet Ying and Yu Heung Ying, not opponents. We
texted to congratulate each other."
Fung Tak Lun called Yeung Wai Lun Golden Horse Best Actor to be
multiple times. He felt that Fung was not jealous, just an elder
joking. "My acting is only half baked, working with him on AFTERPIECE
I learned a lot. It was a great experience." His first Golden Horse
Best Actor nomination made him feel very happy and honored. The feeling
was wonderful. "I believe the jury doesn't know who I am, which makes
me every happier. In addition earlier I played the funny guy in many
movies, this time I am nominated or another type of role. For an actor
it is even happier." He was not confident about winning because he has
always come in second, even in school he was never the top of the
class. In addition the competition would be very strong. Pang Sau Wai
was surprised by her first Golden Horse Best Supporting Actress award
nomination, and said that she was already very happy to be able to
participate. The biggest gift was people knew that she liked to act
and hoped that everyone would ask her to act more.
Showing his support, Chu Pak Him was asked about his younger
brother Chu Pak Hong publicizing his romance. He immediately pretended
to be angry that his younger brother did not inform himself in advance.
When he would see him he must teach him a good lesson, and even asked
his brother to bring his girlfriend for him to look over.
10 MASTERMIND
Can : Jing Jin
Lit : Detective War
d. James Hung Ling Ching
Louis Koo Tin Lok, Ci Sha, Simon Yam Tat Wa, Gardner Tse Kwan Ho,
Amy Lo Wai Man, Ben Yuen Fu Wa, Alan Yeung Wai Lun,
Eddie Cheung Siu Fai, , Jeffrey Ngai Chun Sun
Rating : IIB
Length : 90 mins.
Opening October 1 2026 in the mainland
Opening October 8 2026
Trailer : https://youtu.be/k0pvuxEOYTA
[ HONG KONG MOVIE 6 ]
A suspect, unsuccessfully pursued by an unknown killer, mysteriously
vanished from the detention cell in H City. Baffling by the case,
Agent MO received a bewildering message from his friend YANG, the
fugitive was found dead in a locked records vault of the Investigation
Bureau headquarter, just 10 kilometers away. How did he escape from
the detention cell and slip into the headquarters' records vault,
moving from one 'sealed room' to another?
The murder bullet was later confirmed to be MO's so-called lucky
bullet, rattling the City Government Intelligence Bureau. The
suspect's death was bizarre, and Intelligence Bureau Commissioner BI
was drawn into the vortex of the unsolved case. MO himself became the
prime suspect, now hunted by both the underworld and the authorities.
A mind-bending, tangled plot ensues. MO, YANG, and BI are manipulated
by fate, forced to confront the a sensational and fiendishly difficult
case!
9 THE FORGOTTEN ISLAND
d. Joel Crawford, Januel Mercado
DreamWorks Animation
English Voices: H.E.R., Liza Soberano, Dave Franco, Jenny Slate,
Manny Jacinto, Dolly de Leon, Jo Koy, Ronny Chieng,
Kevin McCann, Lea Salonga
8 ONCE UPON A TIME IN THE MIDDLE EAST
d. Wen Muye
Shen Teng, Jiang Qiming, Omar Sharif,
Aarif Lee Zhi-ting, Sherif Sabby
Rating : IIB
Length : 140 mins.
Opening August 28 2026 in Macau
Opening September 11 2026
Trailer : https://youtu.be/dqf6DJvYqgQ
[ EMPEROR CINEMAS ]
Xu Fu, a chef from Northeast China, heads to the Middle East to work
at a Chinese restaurant. Carrying his wok, he hopes to support his
family and pay off his debts. He serves up classic Chinese dishes:
the Dragon-Raising-Its-Head feast, candied sweet potatoes and Kung Pao
chicken. He partners with restaurant manager Ma Junsheng: Xu Fu
handles the cooking, while Ma Junsheng takes care of guests.
Together, they turn the little-known Dragon Restaurant into a thriving
spot.
War soon breaks out, and local conditions quickly turn dangerous.
Different armed groups clash across the region. What will happen to
Xu Fu? Can Dragon Restaurant survive amid the chaos of war?
7 THE ODYSSEY
d. Christopher Nolan
Matt Damon, Tom Holland, Anne Hathaway, Robert Pattinson,
Lupita Nyong'o, Samantha Morton, Zendaya, Charlize Theron
6 VERITY
d. Michael Showalter
Anne Hathaway, Dakota Johnson, Josh Hartnett
5 GOOD TRIP
Can : Ngor Ah Deh Seung Lui Hung
Lit : My Dad Wants To Travel
d. Norris Wong Yee Lam, Wong Hoi
Nick Cheung Ka Fai, Chung Suet Ying,
Philip Keung Ho Man, Yoyo Mung Ka Wai,
Stanley Yau Si Chun, THAIMAY, Philip Ng Wan Lung
Rating : IIA
Length : 108 mins.
Opening September 17 2026
Opening September 25 2026 (SPECIAL SCREENING)
Opening September 30 2026 at the Pingyao International Film Festival
Opening October 15 2026
Trailer : https://youtu.be/m5vB-wu6RSY
[ HONG KONG ASIAN FILM FINANCING FORUM WORK-IN-PROGRESS PROJECT ]
Shan, an art assistant, juggles responsibilities on the film set and
at the hospital, where she cares for her father, Kueng, who has
cancer. During her time at the hospital, Shan is tasked by the crew
to collect a big bowl from the prop-studio. At her father's request,
they discreetly leave the hospital together, embarking on an
unexpected journey from the studio to Macau, and subsequently to
Okinawa, allowing Kueng to address his unfulfilled wishes. Following
his peaceful passing, Shan inherits not only memories but also a
lasting sense of courage, optimism, and imaginative spirit that
sustains her throughout life.
[ SCREENDAILY 2026 FILMART DAILIES ]
Starring Nick Cheung and Chung Suet Ying, this Hong Kong comedy drama
follows a film assistant who sneaks her dying father out of hospital
to fulfil his last wish for an impromptu trip to Japan. Mabel Cheung
serves as producer for Wong, winner of best new director at the Hong
Kong Film Awards for her 2019 debut My Prince Edward, and Wong Hoi,
who produced Wong's second feature The Lyricist Wannabe. Backed by
Hong Kong Film Development Council's Directors' Succession Scheme,
Good Trip is presented at the HKIFF Industry Project Market at
Filmart.
4 V
Can : Hung Cheung
Lit : Empty Gun
d. Han Yan
Zhu Yilong, Tan Jianci, Tony Leung Ka Wai, Michelle Wai Sze Nga,
Kara Wai Ying Hung, Selena Lee Sze Wah, Ben Yuen Fu Wah,
Ni Dahong, Cecilia Yip Tung, Huang Jue, Yu Haoming,
Aarif Rahman (Lee Chi Ting),
Eddie Cheung Siu Fai, Lam Suet, Wang Ge, Ray Lao, Zhao Runnan
Rating : III
Length : 160 mins.
Opening September 25 2026
Trailer : https://youtu.be/UuJ7EOTzTPk
[ BROADWAY CIRCUIT ]
In the early 1990s, this city of desire, once "paved with gold," had
fallen into a state of broken order and rampant crime. Man Zi-Keung, a
worker, is determined to rewrite his fate. After meeting flight
attendant Lok Ka-Yuen, the two join forces to commit a heist, seizing
a huge sum of money. This success drives Man Zi-Keung to ever greater
extremes, pushing him and wealthy businessman Chan Fai-Yin deeper into
a vortex of escalating confrontation. Meanwhile, mainland police
officer Qi Honggang and Hong Kong police officer Kwan So-San persist
in investigating Man Zi-Keung. With the two police forces joining
hands, the clash between good and evil is on the verge of eruption.
3 HEART OF THE BEAST
d. David Ayer
Brad Pitt, J.K. Simmons, Anna Lambe
2 AVENGERS: ENDGAME ENCORE
d. Anthony Russo, Joe Russo
Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth,
Scarlett Johansson, Jeremy Renner, Don Cheadle, Paul Rudd,
Brie Larson, Karen Gillan, Danai Gurira, Benedict Wong,
Jon Favreau, Bradley Cooper, Gwyneth Paltrow, Josh Brolin
1 RESIDENT EVIL
d. Zach Cregger
Austin Abrams, Zach Cherry, Kali Reis, Paul Walter Hauser
Yoyo Mung and Nick Cheung reunite for another film after 26 years
Yoyo Mung, Chung Suet Ying and Nick Cheung play a family of three in the film courtesy of on.cc
Yoyo Mung (left), Chung Suet Ying and Nick Cheung play a family of three and have set off a lot of sparks
Yoyo Mung (left) and Nick Cheung collaborate again after 26 years and the chemistry remains
Chung Suet Ying (center) says that swinging back and forth on wires in costumes at the forest feels wonderful
Nick Cheung's "Mediterranean" look has been talked about courtesy of mingpao.com
Nick Cheung Ka Fai and former co-star Yoyo Mung Ka Wai teamed up
with the new generation Best Actress Chung Suet Ying through the film
GOOD TRIP (NGOR AH DEH SEUNG LUI HUNG). The film was about how a father
with cancer on the final trip of his life reconnected his wife with a
very different personality and made up for the regret with the daughter
with love, so that the daughter had more courage to face life. Ka Fai
and the returning Mung Ka Wai last collaborated on the 2000 film THE
TEACHER WITHOUT CHALK (LAU MAN SI BIU), 26 years later they reunited and
their chemistry remained. Ka Fai in the interview even made fun of
Yoyo's "happy fat."
Playing a middle-aged man with a "Mediterranean" (balding) look,
Cheung Ka Fai stated that he suggested shaving his head and then putting
on the wig for the performance to be more realistic. "Every time I get
a script I would consider the part inside and out. I hope to add more
dimension to the character and help me get into the performance." Did
he gain weight for the performance? He asked, "Did you get fatter? The
new film subject is considered light. Maybe it's because we ate as we
shot. I didn't notice that I would become rounder." He instantly
gave his onscreen wife Yoyo a wicked look and said, "My old lady is
here, you still dare to say that I am fat?" Yoyo ignored Ka Fai's
ridicule and admitted that she could not slim back to her former
appearance.
Yoyo faded out of the scene for many years. Willing to "come
back" and make the film, she said that the film company called her and
said that Cheung Ka Fai would be in. They have collaborated in the
past and her friends have mentioned Chung Suet Ying before. She thought
that working with the new generation would be pretty interesting, so it
was a pleasure to participate in the performance. When Cheung Ka Fai
learned that Chung Suet Ying has only been in the business for five
years, he thought of himself leaving ATV just after the fifth year of
his career. He praised Chung Suet Ying had an unique personalities and
talent. He also joked that when he first met with he director, he
joked that he could play a couple with Chung Suet Ying. As for Chung
Suet Ying's role as Ka Fai and Yoyo's daughter, in her eyes the two
elders' character could be described as drastically different. She
admitted that her thinking in real life was more complicated, as she
liked to observe and listen to others. From the two she has learned a
lot. "Brother Ka Fai prepares very seriously. He would write a lot of
notes on the script, I would sneak a peek. He would mark down what the
character needs to speak, presence, Yoyo is very relaxed, but once in
front of the camera she would be Mama in the film. They would be the
couple with very different personalities in he film, putting me with
them we would be very harmonious." Mung Ka Wai praised Chung Suet Ying
for being detailed and would add settings for the dialogue on the
script. Ka Fai also liked this onscreen team, and also only took the
role because of the writing and directing team behind the scenes. "This
film is the Hong Kong Film Development Council's 'Directors' Succession
Scheme' funded. This collaboration is very fitting for the theme of the
development fund, with old, middle and young all in one. With young
people's ideas, everyone can have the opportunity to interact, and the
director is also able to make it happen."
Chung Suet Ying in the film played a film art assistant. She
had to wear period costumes to be on the wires and also play a dead
body. She said her first attempt in costume was very enjoyable, but
the director asked her last minute at the set about the wire scene.
Since the experience of swinging back and forth in the woods was rare,
she thought it was very fun. Ka Fai and Yoyo also appeared in costumes.
Yoyo said with a smile, "When I hear about wire work, I look at the
script and it's just Chung Suet (Chung Suet Ying), everyone is
immediately very happy!" Actually Yoyo has never tried the burlap
costume before. Ka Fai was deeply resistant to making costume films.
"Others think that it would be very interesting. The long wigs would
stick to the neck. Wearing costumes that are like three or four layers
of curtains, you also have to speak eloquently and keep your back
straight for two full months. It's very exhausting. Looking back at
Director Chang Cheh's era when every movie was in costume and actors had
to fight in fine details, it as really very rough. Now with AI, the
younger generation of actors won't have it as rough." The Okinawa
location shoot was memorable for them, as they ran into a large scale
festival with tens of thousands participants. The team chose a safe
spot to shoot and receive the passionate welcome from the residents
there. "We have to run over to hold a rope and pray, the rope is so
thick that we couldn't put our arms around it. Then we would take the
cut down rope home. Many residents help out with the cutting. It's
pretty interesting."
Mung Ka Wai has been said to have emigrated to live in Japan,
which she clarified that she has never left Hong Kong. She would only
fly to Japan to handle business on schedule. Now with AI's help it has
been much more convenient. Although she had a a happy filming
experience this time, Yoyo did not have much of an acting bug. She
understood that now making a movie would be very difficult. She was
very happy to have the opportunity to shoot, but she would not force it.
She would not mind how much the salary would and how much time would be
required. "In recent years the film industry climate has been rough.
As long as I can help, I wouldn't mind the salary and time." Has her
husband Ekin Cheng supported her onscreen "comeback"? Yoyo said, "He
has no opinion, the only thing is that he thinks I can lose a little
more weight. I have asked him whether I could go out to see people now.
He said that I have indeed changed a little more than before, there is
room to be thinner." She neither minded nor blamed her husband's
evaluation, thinking that she should take this responsibility herself.
Actually Ekin has also asked her to lose weight, "But he has to be able
to first. Since I eat everyday losing weight is very difficult. Even
with pickle ball I can't catch up with the fat absorption." She said
that they got along with friends as they were able to talk about
anything. "We can talk about anything, basically we have no secret.
Whether we like it or don't like it, we should talk about it. This is
the most comfortable." Cheung Ka Fai joked, "You used to be so thin,
like your ribs would break just from touching you. Next time you can
play a wrestler!"
The family of three from the film gathered at the studio to take
a warm family photo. In reality Cheung Ka Fai and his wife Esther Kwan
Ho Wing have been together for over 30 years. They wed in Australia in
2003, but Ka Fai stated that he was not very focused on the sense of
life ceremonies. Although he would buy a cake to celebrate on his wife
Kwan Wing Ho's birthday, he has also almost forgotten it. Ka Fai
believed that after the audience has seen this movie, they will be
deeply touched and understand that the parents' concern for their
children is a lifetime thing. He admitted that he has not detected this
feeling before he became a father. Cheung Ka Fai admitted that his 20
year daughter has been on his mind the most. As a father his biggest
worry was for her to meet a bad guy. He humorously said, "I told my
daughter, 'Girl, anyone with money would definitely fool around, anyone
without money would still fool around!' Controlling what she runs into
would be very hard, so I can only let go and let her experience it
herself." He believed that the message that the film wanted to bring
out was that even if the couple's personalities were drastically
different, they would not have to hurt each other. Instead they could
accept each other and find a comfortable way to get along. Just as his
and his wife's personalities were equally different but they were still
able to live in harmony. He felt that finding another half with the
same personality for marriage would be very difficult. "No one would be
similar, you can accept finding a comfort zone (get along); not divorce,
damage, violence." He also revealed that he has seen a friend who
regarded her husband as an idol. When the reporter asked him if he
wanted to use it to convey any message to his wife, Ka Fai smiled and
said, "I don't think that's necessary, everyone getting along naturally
is fine!" As for Chung Suet Ying, she immediately frowned when asked
about finding a mate. She said that her family only wanted her to be
happy, so they have never tried to play matchmaker for her.
Josie Ho (center) with her husband Conroy Chan (left) and Iman (right) attend THE MAGE premiere and says that it feels like coming home
Carlos Chan and Kathy Yueng play a couple in the film and have both argument and intimate scenes courtesy of mingpao.com
Josie Ho Chiu Yi, Conroy Chan Chi Chung, Iman, Carlos Chan Ka
Lok, German Cheung Man Kit, Kathy Yuen (Tong Yee), the directors, the
Pang Brothers, and others attended the premiere of the film THE MAGE
(SUP FONG FAT SI) in Hong Kong the night before, laughing and talking
about the sweat and thrills during the shoot, and building trust from
every punch. Also a producer and actress in the film, Ho Chiu Yi
revealed that THE MAGE successfully broke the film festival
participation record of this year's Hong Kong film and achieved good
results at film festivals such as South Korea and Thailand. She said
that she would like to thank her colleagues for their efforts and was
happy to be able to bring Hong Kong films to the people.
At the premiere the actors shared the production experience on
the stage. Cheung Man Kit recalled the action scene with Ho Chiu Yi,
joking that at the beginning she was spoiling everyone and holding back
in her fights. Thus he took the initiative to encourage Ho Chiu Yi.
"Relax and fight, I worked out so I can take a beating from you!" The
two gradually meshed as trust slowly grew. For the final collision
scene their reaction was real, and he felt that blow "from the top of
the skull all the way to the pinky toes." The director joked that at
that time he heard a "pop" like a coconut falling to the ground. When
he turned around he already saw Cheung Man Kit pressing his head and
quietly leaving the set. He was so professional that he has not cried
out at all from any pain. Cheung Man Kit explained that he only walked
away to check the injury. He did not want to scare everyone. At the
time he was indeed a little dizzy and he could not focus his vision for
a moment. Fortunately he had no major problem and would continue to
shoot. Ho Chiu Yi admitted that after the fight, she was afraid of
hurting him. She revealed that in the scene she was supposed to sit on
Cheung Man Kit's shoulders; because she could not steady herself, they
finally changed the stunt to wrapping her legs around his neck.
THE MAGE has participated in a number of international film
festivals and broken the film festival participation records of this
year's Hong Kong film. At the time of the interview, Ho Chiu Yi
expressed her gratitude to her colleagues for their efforts and was
happy to be able to present Hong Kong films to the public. "The
premiere in Hong Kong has the feeling of coming home." As for winning
he Fantastic Icon Award at the Bucheon International Fantastic Film
Festival, she saw it as a consolation prize for her continuing efforts
and said that she should give a share of the award to the team.
Ho Chiu Yi said that movies like THE MAGE still could not be
released in the mainland and could only be sold to Southeast Asia. "I
am very happy that I am able to bring Hong Kong films and my own
performance to the audience there. The recognition from Southeast Asia
to me is a big thing." She said that the new film had such a
performance due to the directors, the Pang Brothers, made it well, and
the effort the entire cast put in. She even praised Iman as the most
handsome in the entire company and lucky, along with the handsome
producer Chan Chi Chung and the handsome and beautiful team.
Referring to the physical condition of the film's producer Chan
Chi Chung, his wife Ho Chiu Yi said that her husband has been getting
better but is very naughty. He often drank coffee and ate fatty food,
not listening to the doctor's advice of exercising, drinking more
water, and quitting fat. She hoped that her husband should take care of
himself more.
Attending film festivals with his first film, Iman admitted that
it was a dream came true. Because some actors have not had this
opportunity after many years, he would cherish it. Ho Chiu Yi said that
her own show business journey has been rugged, so she would try to give
Iman an even road to travel. She also said that Iman has learned some
Cantonese, and in the next film he would even have longer dialogue. He
immediately said in Cantonese, "You don't know what would happen
tomorrow. I once had a girlfriend, you have to be enjoy yourself in the
moment."
Tong Yee and Chan Ka Lok played a couple in the film. They said
that although they have not seen each other for nearly two years
before the shoot because they were busy taking care of children, the
collaboration has not been rusty as they had chemistry very quickly.
Even the director let go and let them rehearse. Regarding having to
yell at Ka Lok loudly, Tong Yee smiled and said that Ka Lok told her to
just be herself; because when she was not smiling people would say that
she was gloomy. Ka Lok asked Tong Yee out of curiosity what she was
caught wearing a beautician uniform while waiting in the ramen shop
line, Tong Yee said that on the day she only went to a friend's company
to get an understanding about investment. Because she had to stay all
day, she wore an uniform only for fear of getting her own clothes dirty.
She also denied working as a part-time beautician, emphasizing that
being an actor was her real full-time job.
Chan Ka Lok's first single in more than 3 years was released
recently, he said that on the night before the release he was so afraid
that he could not sleep and his mind was blank. "Even at my age I can
still be so afraid that I am completely frozen stiff." He thanked his
wife Shiga Lin and his friend Ken Hung Cheuk Lap for giving him a lot of
advice. His wife asked her music friends to provide him with advice,
"The advice my wife has provided is right, but ultimately she isn't a
music producer or singing teacher. My ability to understand is bad,
finally I have to ask the teacher." He also said that his daughter has
listened to the new song but did not respond, maybe she was too young
to understand the lyrics. Speaking of both of her parents are singers,
Ka Lok pointed out that his wife often sang with their daughter, and he
would also let her daughter listen to his wife's song more to cultivate
her pitch. He joked, "She would only get better from listening to more
good stuff, for professional level of course that has to be Mrs. Chan!"
Tsui Hark receives the Academy of Performing Arts honorary doctorate degree
Stanley Kwan receives the Academy of Performing Arts honroary fellowship courtesy of mingpao.com
The Hong Kong Academy for Performing Arts (HKAPA) will
hold its Honorary Doctorate and Honorary Fellowship Presentation
Ceremony on October 16th, bestowing honors upon six distinguished
individuals in recognition of their outstanding achievements in the arts
and culture sector and their support for the Academy's development.
Director Tsui Hark will be awarded an Honorary Doctorate, while Director
Stanley Kwan Kam Peng, Cantonese opera artist Mo Yu Tin (Sun Kim Long),
Hong Kong Dance Company Artistic Director Yang Yuntao, Hong Kong Arts
Festival Development Director Flora Yu Kit Yee, and E-Side Dance Company
founder Jacky Yu Yan Wah will be awarded Honorary Fellowships.
The Academy commends Tsui Hark as one of the most influential
and visionary filmmakers in contemporary Hong Kong cinema, noting his
pivotal role in bringing Hong Kong films to the global stage. A
director, producer, screenwriter, and creative pioneer, he has
profoundly shaped the artistic landscape and international standing of
Hong Kong cinema, serving as a key driver of the Hong Kong New Wave
movement and a foundational figure of the industry's golden age. His
contributions to the HKAPA are evident in his long-standing personal
commitment to nurturing the next generation of filmmakers; having
received an Honorary Fellowship in 2007, he has consistently supported
the School of Film and Television by facilitating special student
screenings of works such as THE TAKING OF TIGER MOUNTAIN, THE BATTLE AT
LAKE CHANGJIN, and SEPTET: THE STORY PF HONG KONG. By personally
sharing his creative journey and cinematic philosophy, bridging
classroom theory with professional practice and enriching students'
artistic sensibilities, he demonstrates a long-term commitment to
cultivating Hong Kong's future film talent, thereby continuously
benefiting the Academy community.
The Academy describes Kwan Kam Peng as an acclaimed Hong Kong
film director, producer, and educator whose outstanding achievements
reflect his enduring dedication to the development of Chinese-language
cinema and performing arts education; his wealth of experience and
cultural influence have made a profound contribution to the HKAPA's
School of Film and Television. Kwan has provided his own films for use
as case studies, enriching the School's curriculum and enabling students
and faculty to analyze narrative structures and technical approaches.
He also frequently serves as a guest speaker, sharing his firsthand
experience in filmmaking, creative decision-making, and directing with
the younger generation.
Kwan Kam Peng has participated in the Hong Kong Film Development
Council's "Director Succession Scheme" as a mentor to young filmmakers,
including Academy alumnus Cheuk Cheung, guiding new directors on how to
balance artistic aspirations with market realities and emphasizing the
importance of appealing to a broader audience; through this mentorship
framework, he makes a practical and long-term contribution to the
professional development of Academy graduates.
Michelle Yeoh receives the "Asian Filmmaker of the Year" award, attends the IT'S MY TIME press conference and the post screening sharing session
Fan Bingbing hosts the Busan Film Festival special section "Carte Blanche"
Ann Hui receives the Camellia Award for her excellence in achievement in women's films courtesy of mingpao.com
The 31st Busan International Film Festival (BIFF) opened
yesterday in Busan, South Korea, the event is star studded as filmmakers
from all over Asia gathered together. Hong Kong veteran actor Michelle
Yeoh (Yeung Chi King) and veteran director Ann Hui On Wa were awarded
the "Asian Filmmaker Award" and "Camellia Award" respectively to become
the focus of attention. The Secretary for Culture, Sports and Tourism
of Hong Kong Rosanna Law Shul Pui expressed his sincere congratulations.
The 64-year-old Oscar winning Best Actress Yeung Chi King set
foot on the stage of the Busan Film Festival again after 15 years to
receive the "Asian Filmmaker Award", and the audience applauded
enthusiastically. She could not hide her excitement and said, "I feel
it's deeply meaningful to be able to come to Busan again after so many
years." She shared, "Looking back at my film career, one thing is very
clear: no one can do it all alone. Behind every movie, there are people
who believe in you, challenge you, and always wait for you." She
thanked all the filmmakers she has worked with, and specifically paid
tribute to directors Hui On Wa and Zhang Yimou. As for the future, she
said that she would look forward to meeting new works and sharing
stories. "No matter what happens in the future, I want to continue to
learn, stay curious, and be the person people who believe in me can be
proud of."
The Asian Filmmaker Award recognizes filmmakers who have made
outstanding contributions to the advancement of Asian film and culture;
the Camellia Awards highlight filmmakers who have made significant
contributions to the advancement of women in the Asian film industry.
Yeung Chi King and Hui On Wa have been working in the film industry for
decades, their works have spread internationally, and they could be
described as deserving of the awards. Law Shuk Pui said that the two
have had a profound and lasting impact on Hong Kong and the
international film industry, and thanked them for their long-term
outstanding contribution to Hong Kong cinema and for helping to promote
Hong Kong films on the international stage. On the other hand, the
Cultural and Creative Industry Development Agency led an industry
delegation to attend the film festival, including the winning work of
the Film Development Fund and 7th First Feature Film Initiative's Higher
Education Institution Group, DEAD END (BEI SAT DIK NA TIN)'s director
Isabella Lam Lok Hin and actor Lokman Yeung. The film has been selected
for the film festival's "Vision Asia" competition, and will hold the
world premiere on October 10th, Busan time. The CCIDA also arranged a
reception for "Hong Kong Night" on October 9th to promote exchanges
between Hong Kong and the international film industry.
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