[2024.11.04] A JAPANESE FAN SURPRISINGLY UNRAVELS TERRANCE LAU'S PLAN TO WRITE AND DIRECT

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Terrance Lau reveals his intention to explore the director's journey in the future, and has even started writing scripts

Terrance Lau watches PEG O' MY HEART with the Japanese audience
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The Nick Cheung Ka Fai, Terrance Lau Chun Him and Fala Chen starred film PEG O' MY HEART (SHOOK MUNG) has not been released yet, but has attracted wide attention from overseas fans and has been included in 7 overseas film festivals. Lately it also stepped foot into the Making Waves - Navigators of Hong Kong Cinema Tokyo Stop. This time Lau Chun Him took the baton from Cheung Ka Fai and attended the event as the lead actor and a representative of the film. Two nights ago (the 2nd) he met with fans and discussed his production experience.

Ah Him deliberately dressed in black, and was greeted by enthusiastic applause from viewers as soon as he entered the venue. Many were Cheung Ka Fai's and his fans. The Japanese fans' passion surprised Ah Him, and he first greeted them in Japanese. Japanese viewers responded passionately at the meeting, and asked questions enthusiastically. He even deeply cherished this opportunity to interact with viewers. "Japanese viewers are very involved, during the question and answer segment what I feel isn't very funny, they would still give laughter and applause to encourage me." This was the first time Lau Chun Him has enjoyed the film on the big screen, which Ah Him admitted that he felt the impact. "During the shoot I didn't know what kind of feeling many visuals would invoke when they would appear on the big screen, especially the intersection between the dreamscape and reality. The confusion between the horrors and the fantasy in the dreamscape makes it difficult for people to differentiate between the dream and the reality. The dreamscape reflects certain feelings from the heart, very fantastic and also very exaggerated."

Cheung Ka Fai won the "Best Director Award" at the Grimmfest Film Festival in Manchester, England, and Ah Him immediately congratulated him. Lau Chun Him said that the director award was very meaningful to Cheung Ka Fai. His acting achievements are already very rich, but the recognition for his work is also very important to him. He also mentioned that Ka Fai's directing experience has brought him great support. "Brother Ka Fai understands the needs of actors. He not only gives me confidence, but also protection so that I can let go to interpret the role." He revealed in the future he intended to explore the journey of the director, and looked forward to expanding even more possibilities in the territory of film. A Japanese fan asked Ah Him whether he would follow Ka Fai's footsteps and try to direct. He was very surprised and instead asked the viewer how did he know about this plan. "Actually lately I have already started to write a script, thinking that if the opportunity should arise later I would be able to direct a story I created. As for what content I created, I can't revealed that for now." Ah Him said that he has always liked Japanese films, especially Hirokazu Kore-eda's film AFTER THE STORM. He looked forward to meeting with viewers again and hoped that he would be able to come to make a movie in Japan.

[2024.11.03] JOHNNIE TO ATTRIBUTES HIS PRODUCTION DECLINE TO LOSING HIS SOUL

Johnnie To speaks to BCC News about the reasons for his production reduction and scalping ELECTION 3

The Johnnie To directed 2005 film ELECTION won the Hong Kong Film Award for Best Director
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The 69 year old Johnnie To Kei Fung has been making movies for over 40 years and has countless works, but in recent years his production rate has been few. In a recent Chinese interview with BBC News, he revealed that due to the impact of the Hong Kong environment, he is at a low point in his life and has lost his soul. He would like to make another movie, but he could not start writing. He had a lot of questions but he was not out of talent. As for the third installment of the ELECTION (HAK SEH WUI) film series, he said that he has conceived it in 2010 but he felt that the social climate was not suitable and he shelved it.

To Kei Fung has won a total of 3 Hong Kong Film Awards and 3 Golden Horse Awards for Best Director, but his production has decreased significantly in recent years. His most recent solo effect was CHASING DREAM in 2019. In a BBC News interview, the host asked him the reason. He said that it was not that he did not want to make a film, but that he could not start writing. He said that due to the environment of Hong Kong, he is at the lowest point of his life. "I feel that people are so fragile; if something is moved and it is what you are used to, it would affect a lot of your thinking. In this environment, I used to have strong confidence in film conceptually; I have been feeling a lot of doubts in the past few years, in turn after coming up an idea once I would toss it out, coming up with another and tossing it out. I don't know how many times I have come up with them. Whether I want them or am I trying to fool myself, I can't find my true self."

To Kei Fung said that there is a movie that is currently being filmed, but the filming has been stop and go. Stopping after a few days of work, it only shot for a day in several months. He said that he was not out of talent, but he felt that he could not conjure up anything. The host asked what was the reason? He laughed and said, "I think you know more than I do." He sighed, "I have always insisted on filming in Hong Kong, Hong Kong is very important to me. I think that now there is no soul, including me and Hong Kong. I have to wait until some things to change my concept. Because when the values are different, many things feel wrong. Whether my values have to be completely changed, this is the big question for me." What was his original soul? He said, "Freedom, freedom of speech, simply said it's human rights and freedom. I think it's very different from the Hong Kong I've lived in for decades." He revealed that once he had many opportunities to film in foreign countries, but turned down many opportunities to work with foreign film companies. He said, "The reason is that I can't even grasp the culture of Hong Kong, the place where I grew up; how do I depict other people's things? The current situation in Hong Kong, the film industry and all aspects of the arts, is not a good period. If everyone leave, I would feel that they betrayed Hong Kong in my world, but I don't know what to do if I stay." Is he going through the most difficult period? He said it probably is, "In the past, not having money doesn't mean that there was no ideal. Maybe I am not used to it, let's see if I can continue my own film world, conquer myself, or learn how to do it."

Speaking of the ELECTION (HAK SEH WUI) film series he directed, many people are concerned about when the third installment will be filmed? To Kei Fung revealed that the script was conceived as early as 2010. He once wanted to start filming ELECTION 3 before filming LIFE WITHOUT PRINCIPLE (DUET MING GUM), but at that time he felt that the social climate was not very suitable, due to various reasons it were shelved. "The plot I thought about in the film really happened, no need for me to go into the details". He believed that even the underworld has changed. If he would return to make the film, it might not necessarily be this subject. He must have a tight grasp on the pulse of the times, which was the creator's feeling of the times. Perhaps he might be able to make it in 2034, as he waited for Hong Kong to give the feeling back to him again. The host asked that in the past "Fresh Wave" had many short films that have not yet passed the inspection in competition. To Kei Fung pointed out that the censorship was not only limited to the film industry, but the whole society also faced "a line". He urged young filmmakers to "be smarter with the creative route they take". He believed that there were rules to follow. if you want to persist, it would be your choice.

[2024.11.03] CESIUM FALLOUT OPENS ON TOP OF THE BOX OFFICE

Locker Lam, Dee Ho, Gardner Tse and Jeffrey Ngai show off their Kirin arms in tank tops
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The disaster blockbuster CESIUM FALLOUT (FUN SING) was released in Hong Kong the day before yesterday. The cumulative box office of the film on the first day in Hong Kong exceeded HK$ 3.8 million. Aside from first place at the opening box office, the film even became the highest-grossing Hong Kong-made film in the second half of 2024. Performing well in a weak market, the film team was very encouraged. Gardner Tse Kwan Ho, Ivana Wong Yuen Chi, Louise Wong Dan Nei, Dee Ho Kai Wah, Jeffrey Ngai Chun Sun, Locker Lam Ka Hei and Natalie Hsu (Hui Yan Yi) formed the audience appreciation vanguard and went to the cinema to thank the audience for their support. Among them, 4 men and Louise even wore white tan tops and firefighting uniforms for their appearance, thorough displaying their muscular curves and full heroics.

The actors also shared their experience of participating in the film. Everyone agreed that due to the huge scale of the production, both the cast and the crew had their own difficulties. Locker remembered when he encountered bad weather. "One day, when the wind and rain blew sideways, even the tent fell over. Everyone united and grabbed a side, even the director Brother Ming (Anthony Pun Yiu Ming) and the boss (producer Bill Kong Chi Keung) helped." Natalie pointed out that the shelter scenes were indispensable in disaster movies. "The art team built a very realistic shelter, so detailed. We filmed all night with more than 300 extras that day. I had to play emotional scenes, so I was afraid that I wouldn't perform well and hinder everyone. However in the end I succeeded." Ivana is very honored to be a part of the production, "The boss and the director thought that this scene was a film about Hong Kong, so they asked for actual location shoots in Hong Kong. I know that the recycling yard consisted of 4 different empty spaces put together, nothing was overlooked with the props and set productions within." Tse Kwan Ho once again thanked the executive producer and producer Kong Chi Keung. "What touched me the most is that in this market, there seemed to be a stupid investor who has put up a lot of money to invest in this film. Ultimately the investment is always more in disaster films than in feature films, and the risk is so big. Only people who love movies would do this, so I hope everyone would go to the movies more to support it!"

Jeffrey showed off his Kirin arms in the new film, and won the screams of the audience. He said that he still has not met the standard, only a third at this stage; he hoped to achieve an 8 pack of abdominal muscles. The film company launched a charity sale of the monthly calendar, and he said that he planned to buy a few more to fill every corner of his home. Ah Dee said that he would buy it for his parents. If the audience responds enthusiastically, his audience appreciation fashion would become more and more daring. He hoped to try wearing the full set of "golden suit" to thank the audience. He also revealed that he has already made room on his schedule for nonstop audience appreciation events. "The condition is really a little like 'roasting chicken wings, I like to eat', if I get to thank viewers I would go. I have discussed with the manager whether I could apply for the Guinness World Record, and in 20 years I could become the 'King of Audience Appreciation'. I would appreciate until I can appreciate no more, using life to trade for the record."

CESIUM FALLOUT (FUN SING) and THE LAST DANCE (POR. DEI YUK) cooperated to launch 1,000 limited sets of HK$ 120 yuan ticket package, which were sold out within 3 hours. Ah Dee said, "I am so happy! I hope it will stimulate the audience's desire to go to the movies." Speaking of Neo Yau Hawk Sau competing for the Golden Horse Award for Best Actor with the movie THE WAY WE TALK (HONG NGOR GUM TIN JUM MOR SUET), Ah Dee was happy for him and would not deliberately chase after his results. "I can't be too persistent in these opportunities, the most important thing is to take care of your own business. The opportunity will come when it does. Maybe it's because I am older, the mentality is work while I can."

[2024.11.03] SAMMO HUNG HOPES TO MAKE GOOD MOVIES TO GIVE BACK TO THE AUDIENCE

Sammo Hung attends the Tokyo Film Festival Master Class, sharing his filmmaking journey with the audience and make a kung fu pose

Sammo Hung is the action director on the first two IP MAN films, even playing the Hung Kuen master in the second film. His round table duel with Donnie Yen is very exciting, not only winning The Golden Horse and Hong Kong Film Awards for Best Action Choreography but also the Asian Film Awards Best Supporting Actor.

Sammo Hung says that Bruce Lee's work has been greatly influential on him. They had a fight scene in ENTER THE DRAGON
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The 72-year-old Hong Kong action movie superstar Sammo Hung Kam Bo was invited to attend the 37th Tokyo International Film Festival Master Class. After the event screened his film THE BODYGUARD, he appeared in a Chinese suit and a cane as the entire audience welcomed him with passionate applause. He has been in the film industry for more than half a century, and he mentioned at the event that he was heartbroken over Bruce Lee's early death, and regarded director Wu Kam Chuen (King Hu) as his mentor. He also claimed that during the prosperous era of Hong Kong films in the 1980s, he never rested but he never felt bitter; as for the fight scene with the "Strongest in the Universe" Donnie Yen Chi Tan in IP MAN 2, Hung Kam Bo said, "He is so powerful, but I am even more powerful." and drew applause from the entire audience.

Hung Kam Bo said that when he was a child, he studied Beijing Opera, learned to perform somersaults, and the posture of acting. The process was arduous, but he learned basic skills. Speaking of his fate with Bruce Lee, Hung Kam Bo said that the two only met a few time. "I was so shocked that he passed away, because he was very young; Bruce Lee's work has had such a big impact on me, so it was quite a heartbreak."

Speaking of his directing debut THE IRON-FISTED MONK (SAM DUT WOR SEUNG YU CHONG MAI LOK), Hung Kam Bo said that it was an action comedy. The audience responded to it well, which laid the foundation for him to focus on action comedies in the future. "At that time Hong Kong films were mainly Mandarin, I spoke Cantonese in the film MONK, then all Hong Kong movies after spoke Cantonese." Many movies featured Wing Chun. Hung Kam Bo said that Master Lau Kar Leung studied Hung Kuen, so his works included Hung Kuen. He was more familiar with Wing Chun, so he made Wing Chun because he wanted to give the audience more diversified movies. Speaking of the many directors he has worked with, he said that he entered the industry at the age of 15 or 16 when he was just a child. "I treated director Wu Kam Chuen (King Hu) as my master, and I studied by his side; I love movies, so I've done a lot of behind-the-scenes jobs. When Director Hu said, 'Sammo (Hung Kam Bo's nickname), come and push the cart.' I would help him with the cart."

Sammo Hung said that as a director in the 1980s, every time he finished a film he would think about the content of the next film and hope that each film would have a new subject; vampire movies were one of his ideas. "I have heard many ghost stories and Maoshan techniques before, when I wanted to make vampire movies, no one thought it was a good idea but it was actually successful. Those people changed their tone and said that you definitely would succeed!" Hung Kam Bo said that the 1980s was the golden age of Hong Kong films. He did not rest as he was making movies every day; although he had no break, he never thought it was tough. "Maybe I was an ox in my previous life, I have to work in order to be comfortable."

Having been to Hollywood to develop his career, Hung Kam Bo said that the production method there is different from that of Hong Kong; when he went to the United States earlier, someone asked him what he would like Hollywood to become. He said that he hoped that Americans could learn Chinese, so he would not have to learn English when he performed.

The event screened the classic fight scenes between Hung Kam Bo and Donnie Yen Chi Tan in IP MAN 2. Hung Kam Bo pointed out that this scene seemed to be very hard to film, but it was actually very comfortable. "Because I am familiar with Yen Chi Tan, the filming process was very fast. He's so powerful, but I'm even more powerful." As soon as Hung Kam Bo said those words, the entire audience applauded.

Hung Kam Bo finally said that now he has three wishes, the first is to be healthy, the second is to be happy, and the third is to make good movies to give back to the audience. When viewers are happy, he is happy. He also said that he was very happy to participate in the master class, because he rarely communicated with the audience. Unfortunately he did not understand Japanese. He hoped that the audience would support Hong Kong films more.

[2024.11.02] SEAN LAU'S PAPA PERFORMANCE MAY BE THE BEST IN HIS FILM CAREER

Director Philip Yung, Dylan So and Jo Koo attend a PAPA after screening forum in Tokyo

Dylan So in his film debut already has many scenes opposite his on screen PAPA Sean Lau
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The 37th Tokyo International Film Festival has screened many new Hong Kong films, but only PORT OF CALL (DAP HUET CHUM MUI)'s Philip Yung Tsz Kwong directed PAPA was selected for the main competition section. The film was screened at the theater in Hibiya in Tokyo the night before. Yung Tsz Kwong, lead actress Jo Koo (Kuk Cho Lam) and new actor Dylan So Man To attended the after screening forum; some viewers described Sean Lau Ching Wan's Best Actor-level acting skills in the film as impeccable. He perfectly interpreted the mood and mental changes before and after the great tragedy, which perhaps might be the best performance in his film career. However due to work he was unable to attend in person.

Opening in Hong Kong on December 5th, PAPA was based on the 2010 Tsuen Wan 15-year-old teenager's mother and sister murder case. It told the story of Yuen Wing Nin (Lau Ching Wan) returning to work at a Cha Chan Tang, everything seemed to be the same. His wife prepared breakfast, his son was playing computer games, and his daughter was taking care of the three colored cat; but since that night, the picture of the family no longer existed. Blood relative has taken away the love of life; he would never be able to forget the deceased, let alone hate the survivor. Kuk Cho Lam and So Man To followed the local customs, greeted the audience in Japanese at the post-screening meeting and received applause from the supportive audience. Director Yung Tsz Kwong said that he came into contact with the case in 2012, met with the "Papa" in the case, and listened to his story. "In the case the father would write to his wife, and the son in prison would also write to his father. I made a movie of the feelings expressed in their letters."

Some viewers praised the movie and described Lau Ching Wan's Best Actor-level acting skills as impeccable. Perfectly interpreting the mood and mental changes before and after encounter the great tragedy, he might have given his best performance in his film career; some viewers were also surprised by the maturity of newcomer So Man To's acting skills, and asked Kuk Cho Lam and So Man To what preparations have they made before filming. Kuk Cho Lam said that many years ago she already knew that Yung Tsz Kwong was preparing the script of PAPA, and thanked him for casting her to play the role of the wife; Kuk Cho Lam said that during filming she had to hollow herself out and devote herself to the role, and the preparation seemed to be there but not, "Lau Ching Wan's acting skills are good, and it is easy to get into character on the set. I often started crying before the cameras started rolling."

Current 18, So Man To is in his first year of college. He said that when he received the notice to perform, he was very happy because he was filming for the first time and he could also work with Lau Ching Wan. However the preparation process was a bit tortuous. "At first I didn't know how to play the role of psychosis, but then I figured it out. The most important thing was to express the relationship between father and son, and the relationship between father and son in the film is similar to mine with my own father to some extent."

Yung Tsz Kwong said that the mental illness mentioned in the film was very common, and there have been many tragedies in society due to mental illness. He also said that the relationship between father and son could not be expressed in a word or two, and he hoped that it could be presented through the movie. Yung Tsz Kwong did not forget to thank his friend Kuk Cho Lam, pointing out that she lost a family member to suicide due to emotional illness. He said, "I really like Kuk Cho Lam." She returned the favor, "I also really like Director Yung Tsz Kwong."

[2024.11.02] JOHNNIE TO LAMENTS THE REDUCTION OF FREEDOM IN FILM PRODUCTIONS

Johnnie To has a conversation with Japanese director Yu Irie, who expressed that To Kei Fung's THE MISSION and EXILED are his favorites
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The chairman of the jury of the main competition section of this year's Tokyo International Film Festival, Tony Leung Chiu Wai said in an interview with the official publication of the event that every time he has made a movie he has taken a lot of time to prepare. "The longer the preparation time is, the easier it is to invest in the role". All the scripts and materials would become the nutrients for him to immerse into the role. Leung Chiu Wai has worked with many famous directors and admitted that Wong Kar Wai has had the greatest influence on him. "Before making a movie with him, I rarely put forward my ideas on the set. He was the one who encouraged me to bravely express myself, which opened my eyes." What were the difficulties in working with directors outside Hong Kong? Leung Chiu Wai said that as long as he focused on what he needed to, the director would automatically understand that "the actor already has given everything" and then he will respect him. Even if they had different languages and cultures, they could understand each other. As for what opportunities would befall him in the future, "It's up to fate to decide".

Another judge of the main competition section, Johnnie To Kei Fung had a conversation with the Japanese director of MEMORIRS OF A MURDERER, Yu Irie yesterday. The latter said that "I have loved watching Hong Kong films since I was a child", his favorites were the To Kei Fung directed THE MISSION (CHEUNG FOR) and EXILED (FONG JOOK). The latter film was rumored to have completed production without a script, To Kei Fung admitted, "All of the visuals and storyboards were already in my brain." How did the actors coordinated? He joked, "By a third of the way through the film production, they can grasp the director's requirements and capture the spirit of the film." He admitted that this was not the best way to shoot and would not advise young directors to follow suit.

Speaking of the Hong Kong film industry, To Kei Fung admitted that the degree of freedom was not as great as it was back then, "If you want to make a film, you have to first understand how the inspection system works. If you have something to say, you have to think about how you want to say it and how truly or clearly you say it." He emphasized that young filmmakers should not feel like they have no choice, "If you can't make a movie in Hong Kong, then go to Singapore, Malaysia, Taiwan or Japan, the most important thing is to have talent. With it you can go anywhere". He also called on the government and the business sector to invest more in films, as this would be the only way to create more opportunities for young filmmakers. "I am almost 70 years old. I may have 10 more years to work, but I am an old man. The environment has changed, times have changed".

[2024.11.02] TWILIGHT OF THE WARRIORS: WALLED IN HOLDS JAPAN PREMIERE IN TOKYO

Philip Ng
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Action director Kenji Tanigaki and Philip Ng share their TWILIGHT OF THE WARRIORS: WALLED IN production experience at the Tokyo International Film Festival
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Sammo Hung sends a message to young filmmakers to create hard and not give up The 37th Tokyo International Film Festival is being held in Japan. The Hong Kong Film Development Council and the Cultural and Creative Industries Development Agency (CACIDA) established the "Hong Kong Pavilion" for the first time at the Tokyo International Film Festival and even held the "Hong Kong Night". The Hong Kong Film Development Council chair Dr. Wilfred Wong Ying Wai and the Assistant Head for Cultural and Creative Industries Development Agency Gary Mak Sing Hei led a delegation of industry leaders, including directors Sammo Hung Kam Bo, Stanley Kwan Kam Peng, actors Michael Hui Koon Man, Dayo Wong Tze Wah, Siuyea Lo Chun-yip, Hedwig Tam Sin Yin, Michelle Wai Sze Nga, Jo Koo (Kuk Cho Lam), Philip Ng Won Lung and George Au Chun Ho, etc., to promote Hong Kong and expand overseas cooperation. The lineup is strong, and they jointly showed the strength of Hong Kong films to the international film industry. This year, there are 5 Hong Kong films PAPA (BABA), THE LAST DANCE (POR. DEI YUK), MONTAGES OF A MODERN MOTHERHOOD (FU DUK BUT), VALLEY OF THE SHADOW OF DEATH (BUT SHEH JI JUI), and TWILIGHT OF THE WARRIORS: WALLED IN (GAU LUNG SING JAI JI WAI SING) competing for awards.

The Hong Kong Film Development Council and the Cultural and Creative Industries Development Agency held the "Hong Kong Night" on the evening of October 31st, which was packed with stars. Sammo Hung Kam Bo was delighted to be invited to attend the Tokyo International Film Festival seminar and said, "Thank you for your support for Hong Kong films. Only with your support are we motivated to continue to create Hong Kong films." Hung Kam Bo sent a message to future generations to work hard, put in an effort, inherit the Hong Kong film spirit of not give up; famous Japanese actor Yasuaki Kurata was grateful for the Hong Kong movies. "Without Hong Kong, there would be no me today."

The Cultural and Creative Industries Development Agency and the Hong Kong Film Development Council have also funded the Hong Kong Trade Development Council to set up the Hong Kong Pavilion for the first time in the Tokyo Film Festival's Films and TV Programs Showcase, to promote a number of outstanding Hong Kong films and promote Hong Kong as a filming venue for international films.

THE LAST DANCE (POR. DEI YUK) was selected for the "World Focus" section, and director Anselm Chan Mou Yin and actors Michael Hui Koon Man, Dayo Wong Tze Wah and Michelle Wai Sze Nga attended the Film Festival; Hui Koon Man and Wong Tze Wah both were participating in the Tokyo Film Festival for the first time. Hui Koon Man said that he was very excited. "I would like to thank Chan Mou Yin for creating this unique script, especially Wong Tsze wah, Wai Sze Nga, Chu Pak Hong and all the cast and the crew for their combined effort, so that this Hong Kong film can be brought to Japan and shared with audiences around the world." Wong Tze Wah joked, "It's an honor to be able to come and experience the big event once." Wai Sze Nga was also proud of the team. "Being recognized at such an important film festival is the greatest reward for our efforts." Director Chan Mou Yin expressed his gratitude for the recognition: "THE LAST DANCE is a work with rich Hong Kong local flair. Being recognized on such an internationally influential stage, it is a great affirmation for our entire production team."

Director Philip Yung Tsz Kwong was delighted that Papa has been chosen for the "Main Competition" and competes for the top prize, and was encouraged by the recognition of Hong Kong films at the International Film Festival. "I am very honored, because Hong Kong has not participated in the competition of the Tokyo International Film Festival for six years. I hope that more Hong Kong films will be noticed on the international stage." Actors Jo Koo (Kuk Cho Lam) and Dylan So Man To also felt very lucky and grateful.

MONTAGES OF A MODERN MOTHERHOOD (FU DUK BUT) was selected for the "Women's Empowerment" section, director Oliver Chan Siu Kuen said that she felt a great deal of recognition. "Audiences in different places will have different resonances depending on the local culture and social situation, but I also believe that the core emotion of MONTAGES OF A MODER MOTHERHOOD is the same, because after all, we are all born from mothers." Hedwig Tam Sin Yin said that she was particularly looking forward to this screening. "This selection for the 'Women's Empowerment' section, which focuses on women's rights, has injected more strength into the film, and I look forward to seeing the audience who will see the film because of this subject." Siuyea Lo Chun Yip said, "I believe that the plight of a new mother in the film can easily relate to Asian audiences due to the lack of support. At the same time, there are slight differences in family structure and gender division of labor in different regions, so I hope to have a great exchange with the audience and learn about the specific situation of starting a family and raising children in Tokyo this time."

With his film debut VALLEY IN THE SHADOW OF DEATH (BUT SHEH JI JUI) selected for the "Future of Asia" competition, George Au Chun Ho and other actors Sheena Chan Shu Yan and Summer Chan Chi Huen attended the "Hong Kong Night". Au Chun Ho said, "It is a honor to be a part of the event, because I could have the opportunity to observe foreign works then gradually learn and improve from them." Chan Shu Yan said, "This Film Festival has made me more deeply aware of the power of film, and has made me more motivated to continue on the journey of filmmaking." Chan Chi Huen also cherished her trip very much. "The Film Festival enabled me to see excellent works from all over the world, and I am able to interact with many talented filmmakers and explore different storytelling styles and creative methods."

Selected for the "Gala Selection", TWILIGHT OF THE WARRIORS: WALLED IN (GAU LUNG SING JAI JI WAI SING)'s actor Philip Ng Won Lung said that he was very honored to be a part of such a popular kung fu movie. "Speaking of the Walled City, it is a place people fantasized about and pictured. In addition it is a place that belongs to Hong Kong, which I believe can arouse the curiosity of the audience. I very much look forward to seeing the reaction of the Japanese audience."

In addition, the Hong Kong Film Development Council and the Cultural and Creative Industries Development Agency also held two seminars, including "The Past and Present of Martial Arts Films: Exploring Tradition and Looking to the Future", in which three renowned action directors and actors Sammo Hung Kam Bo, Yasuaki Kurata and Kenji Tanigaki, discussed the evolution and innovation of martial arts films and looked to the future; Hung Kam Bo said, "The martial arts spirit of Hong Kong films is the best in the world; only because every martial artist and every action director work hard to create and dedicate their lives to contribute would there be Hong Kong action movies. Young people should not give up, the most important thing is to work hard, to inherit the spirit of Hong Kong films: 'Anything can be done!'" Yasuaki Kurata shared his experience of developing in Hong Kong and said, "Without Hong Kong, there would be no me today." Kenji Tanigaki also pointed out, "As long as you work hard, the effort is not in vain, for the younger folks the most important thing is to work hard, to charge ahead."

In addition, the production teams of the two prize-winning films under the Hong Kong-Asian Film Collaboration Funding Scheme of the Hong Kong Film Development Fund, namely ALL THE THINGS WE HAVE DONE WRONG THAT LED US TO THIS and "38.83", were invited to discuss the challenges and strategies in the joint filming between the two places. They included ALL's Producer Stanley Kwan Kam Peng, Director Daiji Matsunaga and screenwriter Jun Li Jun Shek, and "38.83"'s Executive Producer Shunsuke Koga and Director and Screenwriter Cheuk Wan Chi. Kwan said, "Unlike the previous New Wave period, it is difficult for young people to find funding now. Fortunately, Create Hong Kong (now known as the Cultural and Creative Industries Development Agency) has provided a lot of funding for young people to make films, but it is important to remember that filmmaking should start from the script, not collaboration for the sake of collaboration." Hitting it off with Daiji Matsunaga at the first meeting, Li Jun Shek said that the film revolves around the love story of a Hong Kong and Japanese man and woman, and is still trying to raise funds. When asked why the film was filmed in Japan, Cheuk said, "The subject of the film is my life with my maternal grandmother, who is a fisherman and has a lot of contact with Japanese people. I was a teenager when my family traveled to Japan, only then I found out that my grandmother could speak Japanese. In addition I often took my grandmother to Japan for vacation, so filming in Japan was the best choice."

TWILIGHT OF THE WARRIORS: WALLED IN (GAU LUNG SING JAI JI WAI SING) was screened at the 37th Tokyo International Film Festival yesterday. Playing "Wong Gau" in the film, Philip Ng Won Lung, action director Kenji Tanigaki and producer Angus Chan appeared at the post-screening sharing session. Tanigaki also acted as Angus's translator.

Ng Won Lung said that when he received the script of TWILIGHT OF THE WARRIORS: WALLED IN, he did not know what he would play at all. When Director Cheang Pou Soi told him to laugh, he smiled but the director did not accept the take. It took him 3 laughs before he finished, then he understood what he needed to play. He also re-enacted the classic movements and expressions of "Wong Gau" from the film on the spot, which caused the audience to burst into laughter. Kenji Tanigaki praised Ng Won Lung's acting skills and kung fu, and felt that he had a kind of superpower. Ng Won Lung said that Tanigaki's action instructions were very clear, "I original thought that I had to perform in the style of action movies in the eighties and nineties, but it turned out to be modern."

Angus Chan revealed that the Kowloon Walled City was demolished in 1994, and the cost and risk of recreating the walled city in the film were very high. Millions of dollars were spent. He also revealed that a lot of the information collected came from Japan, and he appreciated the help there. Kenji Tanigaki said that the movie was shot during the new coronavirus pandemic. Everyday the cast and the crew commuted between the set and the hotel, and have become a family. He believed that because of this, the movie was made well.

Speaking of legacy, one of the themes in the film, Ng Won Lung encouraged the new generation who want to devote themselves to action movies to put their videos on YouTube. Perhaps someone will see them and invite them to film; Ng Won Lung said that when he was a child, he rented a video tape in Chinatown in the United States to watch action movies. He was determined to become an action actor in the future.