Hong Kongs Oncevibrant Movie Industry Now Walks A Fine China Line
Chan Jie-woon, one of many Hong Kong filmmakers seeking support for their work outside of China, addresses the media during the 66th BFI London Film Festival last month. (Tristan Fewings/Getty Images for the BFI)HONG KONG. Director Chang Tse-woon's latest film examines how the political struggles of generations of Hong Kongers have shaped their identity. However, it has never been screened in the city where it takes place, where Chan was born and raised, and much of its funding comes from abroad.
Nominated for this year's prestigious Taiwan Golden Horse Award for Best Documentary, Blue Island tells the story of Hong Kong's independent filmmakers increasingly turning their attention to foreign markets as domestic censorship tightens.
Chan decided not to show the film in local theaters because doing so would require official review under the city's film censorship ordinance. Amid a 2020 security law intended to curb dissent after months of pro-democracy protests, the decree was amended last year to ban content that could be seen as a threat to national security.
Several Taiwanese films have recently been delayed and had to remove scenes in order to obtain the necessary permits to enter local film festivals. In October, the censors "recommended" that The Dark Knight not be screened outdoors. Although they didn't say why, what was suggested here was that they were reacting to the image of a corrupt Chinese businessman. The movie is shot.
Such concerns make the Blue Island designation all the more relevant, Chan said, increasing its visibility and sparking discussions about the dramatic upheaval Hong Kong has undergone and its future.
The film shows "the real Hong Kong, its atmosphere and how the locals and diaspora are coping with so many changes," Chan said. A mix of documentary and drama that tells the story of activists from different generations fighting for and defending their freedom. The film was screened at film festivals in London, Toronto and Rotterdam and will be screened in Taiwan in December.
"I hope that the younger generation of filmmakers will feel that we're not alone, that we don't have to go the commercial route and have to go through official censorship," Chan said. "We can be pioneers and go our own way in the pursuit of free cinema."
"Ten Years" reflected the dark side of Hong Kong. Life only half imitated art.Two Hong Kong films were honored at the Golden Horse Awards announcement in Taipei on Saturday night. Anthony Wong, the famous actor who supported the city's 2019 pro-democracy protests, won Best Actor for the film Sunny Side of the Road. And Limbo, a monochromatic depiction of the city's violent side, won multiple awards. None of the films were shown in mainland Chinese theaters.
Known as the Oscars in Chinese-speaking countries, the award is one of the increasingly important platforms for independent filmmakers like Chan to turn their attention away from overseas markets and seek new ways to fund their work and bring it to a wider audience make . . The awards organization runs a special program to connect Chinese-speaking filmmakers with the international industry, which can support their creative endeavors. This year there are 10 film projects from Hong Kong.
The film community has "demonstrated an ability to survive and thrive in the cracks," said Kiwi Chow, who last year directed the award-winning documentary Revolution of Our Time, named after the banned protest slogan. Also, his film has never been shown in Hong Kong.
Two actors portraying Chinese nationals fleeing China's Cultural Revolution to Hong Kong in the 1970s star in this footage from Blue Island, alongside films that the mainland authorities had to abandon out of concern for them. . (Golden Horse Awards/AFP via Getty Images)Not so long ago, Hong Kong theater was a point of pride. The early 1990s is the heyday; Thanks to many hard-working investors, hundreds of films are produced every year. Stars like Jackie Chan followed in Bruce Lee's footsteps and introduced the martial arts to a worldwide audience. Filmmakers like Wong Kar-wai have captured the city's beauty and its struggle for identity since the former British colony was handed over to China in 1997.
Chou said he began reaching out to independent investors and freelance actors when the larger film companies severed ties with mainland subsidiaries. Others chose to do the same without risking their artistic expression. For example, Chan secured Blue Island funding from France, South Korea and three other countries.
Given the hostile relations between China and Taiwan, it is not surprising that the Golden Horse award has even angered Beijing.
25 years of slow Chinese conquest of Hong Kong in picturesBeijing banned mainland Chinese filmmakers from attending the 2019 ceremony after a Taiwanese filmmaker expressed support for the self-governing island's independence. In September, the influential Hong Kong Film Association released a letter urging members to attend the ceremony to boycott this weekend due to "increasing geopolitical tensions."
Some local filmmakers are benefiting from cooperation with the Chinese authorities. Access is under the 2003 Beijing-Hong Kong Film Co-Production Agreement, which continues to provide funding and access to circumvent a limited annual quota for film imports from mainland China.
"Most Hong Kong directors and actors only do mainland stories," says Li Cheng-liang, associate professor of communications at National Chengchi University in Taipei. "This collaboration is at the expense of the entire Hong Kong film industry as it transfers its knowledge and expertise to China."
But the Chinese film market has become less attractive as censorship has increased. As of November this year, only 49 foreign films have been screened and released in Chinese cinemas, the lowest number in almost a decade.
The Chinese National Day box office fell more than 60% last month compared to the 2021 holiday. Patriotic films, in which Chinese officials or soldiers often come to the aid of citizens to win support for the Communist Party, are doing more than two thirds of it from ticket sales.
One man's brave protest against the Chinese leadership is being emulated around the world"These films tell people's stories not from an individualistic point of view, but from a collectivistic point of view," said Hao Jian, a professor at the Beijing Film Academy. "The failure to reflect the real lives of people and society will definitely affect audiences' enthusiasm for watching films in the long run."
For Ren Xia, whose film Stay Young Forever was nominated for last year's Golden Horse, leaving the Mainland China and Hong Kong markets could be a difficult decision. However, he is willing to live with that. In July, he helped draft a joint statement on the freedom of film, calling for uncompromising creativity. It was signed by dozens of Hong Kong directors, including Chan and Chow.
"It's risky making films yourself," Ren said last week, noting that award-winning Iranian filmmakers like Jafar Panahi have been jailed for telling the truth at work. "If they can do it in a more dangerous situation than ours, then we have no reason to be afraid."
"Movies are very important to me," he added. "I sacrifice my freedom to keep shooting."
