This Saturday, July 1, marks 20 years since the Handover of the British colony of Hong Kong to the People’s Republic of China. To commemorate here in Seattle, SIFF has a five film miniseries of post-1997 film. Included are two established classics (Shaolin Soccer and Infernal Affairs) and three newer films (Cook Up a Storm, Mad World and Weeds on Fire), two of which are making their Seattle debut (Cook Up a Storm played here in February, and again at the Film Festival a few weeks ago). It’s a fine series, the older films are both great works and important milestones in 21st Century Hong Kong cinema, in box office, technological and artistic terms. And the new films are very much concerned with Hong Kong’s identity (versus globalist capitalism in Cook Up a Storm and looking backward at how a city of refugees built a sense of a new, unique Hong Kong) and social conditions (in Mad World the treatment of mental illness both in the community and in the family). They aren’t the films I would have picked, because the older ones are too familiar, and the newer ones just aren’t that great, but it’s definitely a worthy series and I’m very glad they’re doing it.
But since there are few things in life more fun than fantasizing about film programming, I thought I’d put together my own fake Handover Anniversary series. Well, a couple of them actually.
Sticking to SIFF’s formula (two classics + three new films, two of which are local premieres) and all of which take Hong Kong as a key subject, more or less.
- The King of Comedy – Stephen Chow’s first great film as director and star, he plays a wanna-be actor trying to make it in the movie business. With Karen Mok in the best John Woo homage ever made.
- Election/Election 2 – Johnnie To’s Triad saga traces the ideological past of Hong Kong’s criminal societies through one bloody (yet firearm-free) succession struggle and looks toward a future of shadowy manipulation by the Mainland.
- Yellowing – Chan Tze-woon’s documentary about the Umbrella protests of 2014 is both intimate and immediate, capturing a generation fighting for what they know to be a lost cause.
- Trivisa – Three young directors combined for this crime saga set on the eve of the Handover, following three different career criminals who might get together for one last big score. Produced by the Milkyway Image studio, it played here at SIFF in 2016 but never got a theatrical release.
- Call of Heroes – We need a martial arts film, and this is the best I’ve seen since SPL 2. A variation on High Noon, with Lau Ching-wan locking up psychotic Louis Koo and awaiting the bad guys that are going to try to rescue him. With Eddie Peng and Wu Jing, and choreography by Sammo Hung, it’s an all-star kung fu fest harkening back to the early 90s golden age.
Those are all films I’ve seen, but I’d at least be more excited if the series was packed with movies I haven’t had a chance to catch up with yet.
- Made in Hong Kong – The new restoration of Fruit Chan’s 1997 landmark of independent Hong Kong cinema has been making the rounds, but as yet it doens’t look like it’s coming to Seattle. My fingers remain crossed.
- Vulgaria – The ubiquitous Chapman To stars as a movie producer who gets hired to remake a classic porn film by a local gangster. Pang Ho-cheung is one of the best directors to emerge in Hong Kong in the post-Handover era, and if this is his Viva Erotica, it should be pretty great.
- Our Time Will Come – Ann Hui’s World War II film, about Hong Kong’s anti-Japanese resistance, opens here next week, but this minifestival would be an ideal place to premiere it.
- Shock Wave – I missed Herman Yau’s latest, starring Andy Lau as a bomb squad detective, when it played here for six days this spring. I’d like another shot at it.
- Duckweed – Han Han’s time travel comedy with Eddie Peng and Deng Chao looks like an update of Peter Chan’s He Ain’t Heavy, He’s My Father, itself a variation on Back to the Future, where a young man journeys back in time and comes to a better understanding of his father and his generation. Except the past here is 1998. (*Having seen Duckweed now, I realize its not a Hong Kong film at all, but Chinese. Thus are the perils of assuming things in post-Handover Chinese language cinema. Good movie though.)
If all restrictions were off, and I just had to program five films that captured the spirit of Hong Kong over the past 20 years, this is what I’d pick:
- Time and Tide – Tsui Hark’s return to Hong Kong after some years in Hollywood produced arguably the best action sequences of the past 20 years, with Nicholas Tse as a bodyguard caught up in a gang war.
- Golden Chicken/Golden Chicken 2 – Samson Chiu’s 2002 film filters 30 years of Hong Kong history through the eyes of Sandra Ng, a loony prostitute who finds herself licked in an ATM vestibule with Eric Tsang. The sequel continues the story through the SARS epidemic and other recent events from the perspective of Ng in the year 2046, the year Hong Kong will fully come under PRC control.
- Love in a Puff – Pang Ho-cheung’s romantic comedy received the equivalent of an X rating for its authentically profane dialogue, and no film better captures the feeling of city life in the 21st Century.
- Blind Detective – I could pick any number of Johnnie To films for this, of course. But while films like Sparrow, The Mission, Throw Down, Fat Choi Spirit, Life Without Principle, etc etc are readily available, this 2013 comic crime film with Andy Lau and Sammi Cheng has never been released in the US.
- The Midnight After – Fruit Chan’s apocalyptic 2014 adaptation of an unfinished internet novel by an entity known only as PIZZA is as perfect an expression of our present moment as you’re likely to find. And it only grows more prescient with time.