A middle child sense of identity lost, — trapped between the dual identities of the dying British Empire and mainland China, this baby is too much of one to be the other and too much of the other to be anything else. Fruit Chan's bitter statement on the seemly perpetual process of Hong Kong's Death & Rebirth.
Life as a way of make believe. Sion's typical organized chaos that doesn't seem to know exactly where it's going to, but in the end will cry out his message at the top of his lungs. This share the same passion for cinema of Why Don't You Play in Hell?, but while the 2013 film is all about staging reality, this goes the other way around fully living the fiction. In modern Japan everyone is pretending not to wear a mask as real life turns out to be a big masquerade ball.
Such a minimalist and uniquely crafted gem. Been a while since a movie hit me as strongly as Haru search for closure in her never-ending journey to reconcile with both her grief and the guilt for being left over. All wounds leave scars and an emotional baggage that comes with it, and Serena Motola's eyes tell a whole story of their own.
I would like to point the 'one scene' in the film, and literally any choice would be right,…
1997 was the year the transfer of sovereignty over Hong Kong took place and it is not by chance that Wong chooses to cross the world and make his boldest and most transgressive film, that also happens to be about new beginnings; — and he even goes so far to visualize an upside-down HK at some point. I've heard some complaints about how he can't explore Buenos Aires like he can with Hong Kong, but I strongly disagree. Living 12…