Explore every episode of the podcast The Hong Kong On Screen Podcast
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Ep. 82 We're Nothing At All （我們不是什麼）Comes to America: The Overseas Journey of a HK Film [Cantonese]
今集我們邀請到 Blacklight Global 團隊代表 Jen 和智，和我們分享公司成立的理念，以及《我們不是什麼》這次來到洛杉磯的經過。我們也會談到三場放映各自的特色、香港電影如何走向海外，以及獨立發行團隊在美國推廣亞洲電影時所面對的挑戰。
這次邱禮濤導演、AK 江𤒹生和 Ansonbean 更會親自從香港來到洛杉磯，和觀眾見面及交流，機會相當難得。✨ 如果大家想了解放映詳情及購票資訊，請瀏覽 Blacklight Global 官方網站。現在，就讓我們一起聽聽《我們不是什麼》走進美國背後的故事。📍
🎬 In this episode of Hong Kong On Screen, we introduce We’re Nothing At All, a Hong Kong film that has just received two nominations at the 63rd Golden Horse Awards. Director Herman Yau is nominated for Best Director, while Anson Kong (AK) is nominated for Best Supporting Actor. The film is coming to the U.S. West Coast for three screenings on October 7, 9, and 10. 🎞️
We speak with Jen and Chi from Blacklight Global about the company’s mission, how We’re Nothing At All is being brought to Los Angeles, and the different highlights of each screening. We also discuss how Hong Kong films can reach international audiences and the challenges independent distributors face when promoting Asian cinema in the United States.
Director Herman Yau, Anson Kong, and Ansonbean will also be traveling from Hong Kong to Los Angeles to meet and connect with audiences—a truly special opportunity. ✨ For screening and ticket information, please visit the Blacklight Global official website.
Now, let’s hear the story behind We’re Nothing At All’s journey to America. 📍
This episode features singer-songwriter Gloria (歌莉雅), tracing her journey from school competitions to becoming a mainstay of the Hi-Fi scene. Her original song “MAMACAR” was selected for the 3rd Hong Kong On Screen Film Festival, and the microfilm MAMACAR—for which it serves as the theme—continues her on-screen work. We discuss how she adjusted her emotional expression, timing, and relationship with the camera; the most unforgettable on-set moment; how she manages pressure after years in the Industry; and one practical tip for newcomers to singing and acting. We also revisit pivotal feedback from her school-competition days that propelled her forward. In the closing segment, Gloria shares her newly released Hi-Fi audiophile album Love You Forever (SALUTE TO GRASSHOPPER), a tribute to her idols, Grasshopper.
The microfilm she stars in will screen on September 13 at Starlight Whittier Cinemas Village, alongside 《Montages Of A Modern Motherhood》.
--- The Hong Kong On Screen Podcast is a podcast dedicated to exploring Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Ep. 77 Interview w/ Hester Kwok, the Director of "My Hong Kong Diaries in 2022"
🎙️🎙️ On this episode, we’re joined by the filmmaker of "My Hong Kong Diaries in 2022." She shares her experience during the 2022 lockdown, discusses her predictions for how Hong Kong culture and cinema will progress, and laments the rapid development of Hong Kong, yet still holds hope for the culture.
3rd Hong Kong On Screen Film Festival – My Hong Kong Diaries in 2022
Date: Sep 2 (Tue) Time: 7 PM Location: University of Southern California, Norris Theatre
🎟️ Tickets available now (FOR FREE): 👉 https://cinema.usc.edu/MyHongKongDiaries
📩 Subscribe to the Hong Kong On Screen newsletter (http://eepurl.com/hYBlc1) for the latest screening details!
--- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org (mailto:info@hkonscreen.org) . Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
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In this podcast episode, we speak with the director of Stories of Pang Jai about the film’s background and production journey. The community’s efforts ultimately drew international attention, yet Hong Kong’s once-vibrant textile trade could not withstand the forces of urban redevelopment. So—what possibilities remain today?
Stories of Pang Jai will be screened at the 3rd “Hong Kong On Screen” Film Festival on Saturday, September 6, at CSUDH. Reserve your seat now and witness this powerful story on the big screen!
同時，本屆「銀幕·香港」徵片單元的優秀作品也將組成三個特別節目 —— Program A、B、C，均可免費在線觀看。如果您願意，也非常歡迎捐款支持「銀幕·香港」的發展。
👉 電影節詳情請見：hkonscreen.org/festival
In this episode, the host takes you through the highlights of the 3rd Hong Kong On Screen Film Festival (HKOSFF)—from this year’s lineup to how you can take part. We spotlight five feature screenings in Los Angeles:
Valley of the Shadow of Death (不赦之罪) No Time for Goodbye (風繼續吹) Four Trails (香港四徑大步走) Montages of a Modern Motherhood (虎毒不) Ten Years (十年)
The festival also presents four free campus screenings, featuring: Something About (慧童) Cha Guo (茶粿) Enter the Clones of Bruce (李小龍：複製新宇宙) Stories of Pang Jai (風吹布動)
For audiences outside Los Angeles, HKOSFF offers global online access. You can watch for free:
Obedience (十方之地) by Wong Siu-pong elegies (詩) by Ann Hui
Plus, selected works from this year’s open call will be featured in three special online programs—Program A, B, and C—also available for free streaming. Donations are welcome to support Hong Kong On Screen and help the festival continue.
👉 Festival details: hkonscreen.org/festival
--- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org. Support the show: https://www.hkonscreen.org/giving Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
Ep. 77 Interview w/ Don Ng, the Director of "No Time for Goodbye"
🎙️🎙️ On this episode, we’re joined by the filmmaker of "No Time for Goodbye," where he discusses his transition from journalism to filmmaking, the nature of Hong Kong cinema overseas, and shares his thoughts on making films in the UK. Now available on major streaming platforms.
3rd Hong Kong On Screen Film Festival – No Time For Goodbye
Date: Aug 23 (Sat) Time: 6 PM Location: Starlight Whittier Village Cinemas
📩 Subscribe to the Hong Kong On Screen newsletter (http://eepurl.com/hYBlc1) for the latest screening details!
--- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org (mailto:info@hkonscreen.org) . Support the show: https://www.hkonscreen.org/giving
Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments
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Ep.76 Interview w/ HK Indie Short Film Award 2025 Directors Program III [Cantonese]
15 Director: Chan Ki Yan Black Sheep Director: Tsang Yeung My Pen is Blue, Director: Siu Chi Yan
🎬 The shortlisted films from the Hong Kong Independent Short Film Award 2025 will be screened in Los Angeles 🏙️ on three consecutive Saturdays: June 14, 21, and 28.
🎙️🎙️ In this episode, we’re joined by the three directors featured in “Program 3”! During the interview, they sincerely share the inspirations behind their short films and the challenges they faced along the way 💡🎬. They also express great excitement for the upcoming screening, hoping it will attract more audiences who care about Hong Kong cinema to come to the theater and support local creations 🇭🇰🎥.
--- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org. Support the show: https://www.hkonscreen.org/giving
Ep.75 Interview w/ HK Indie Short Film Award 2025 Directors [Cantonese]
Sushi Director: Wong Cheuk Man Move On Move OnDirectors: Lo Wing Yi， Zheng Yihao， Chen Lin Kill Danny II: A Puppy Love Story Directors: Law Lok Hei, Leung Chun Tat, Wu Hau Chung The Reticent WaveDirector: Yuen Chi Him
🎬 The shortlisted films from the Hong Kong Independent Short Film Award 2025 will be screened in Los Angeles 🏙️ on three consecutive Saturdays: June 14, 21, and 28.
🎙️🎙️ In this episode, we’re joined by the eight directors featured in “Program 2”! During the interview, they sincerely share the inspirations behind their short films and the challenges they faced along the way 💡🎬. They also express great excitement for the upcoming screening, hoping it will attract more audiences who care about Hong Kong cinema to come to the theater and support local creations 🇭🇰🎥.
--- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org. Support the show: https://www.hkonscreen.org/giving
Ep.74 Interview W/ HK Indie Short Film Award 2025 Directors Wong Lok Yiu/ To Chun Him/ Tong Ho Yin/ Chan Wing Ki [Cantonese]
🎬 The shortlisted films from the Hong Kong Independent Short Film Award 2025 will be screened in Los Angeles 🏙️ on three consecutive Saturdays: June 14, 21, and 28.
🎙️🎙️ In this episode, we’re joined by the four directors featured in “Program 1”! During the interview, they sincerely share the inspirations behind their short films and the challenges they faced along the way 💡🎬. They also express great excitement for the upcoming screening, hoping it will attract more audiences who care about Hong Kong cinema to come to the theater and support local creations 🇭🇰🎥.
--- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org. Support the show: https://www.hkonscreen.org/giving
Ep.73 Interview w/ Hong Kong Film Festival Australia Organiser Cicely and Volunteer Hester [Cantonese]
🎬 The shortlisted films from the Hong Kong Independent Short Film Award 2025 will be screened in Los Angeles 🏙️ on three consecutive Saturdays: June 14, 21, and 28.
🎙️🎙️ In this episode, Cicely and Hexter who are the organiser and volunteer of HKFFA, will be sharing the insights of creating this festival, with me and Iris, our new volunteer in HKOS.
🔥 They also talked about the difficulties they had when deciding the films to be screened in the festival.
🏆 Towards the end of the episode, they shared their views towards Hong Kong film industry as well.
--- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org. Support the show: https://www.hkonscreen.org/giving
Ep.72 Interview w/ the HK Indie Short Film Award 2025 Organizer Kaiu Choy [Cantonese]
🎬 The shortlisted films from the Hong Kong Independent Short Film Award 2025 will be screened in Los Angeles 🏙️ on three consecutive Saturdays: June 14, 21, and 28.
🎙️🎙️ In this episode, I’m joined by Kaiu Choy, the organizer of this year’s short film awards, who shares behind-the-scenes stories and insights from the planning process.
🔥 She also talks about why she continues to pursue this work even after relocating to Taiwan, and what drives her to keep going.
🏆 Toward the end of the episode, we delve into questions like: What is independent cinema? And what paths are still open for Hong Kong’s independent film scene?
--- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org. Support the show: https://www.hkonscreen.org/giving
Ep.71 Interview with Irene Chan, Director of the Toronto Hong Kong Club
🎬 The shortlisted films from the Hong Kong Independent Short Film Award 2025 will be screened in Los Angeles 🏙️ on three consecutive Saturdays: June 14, 21, and 28.
🎙️ In this episode, we invited Irene Chan, Director of the Toronto Hong Kong Club, to share highlights from the Hong Kong film screenings held in Toronto since 2020.
🔥 She also spoke about the motivations and experiences behind organizing multiple independent film screenings.
🏆 At the end of the episode, we dove into the details of the upcoming "Hong Kong Independent Shorts Awards 2025" screening — don’t miss it!
--- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org. Support the show: https://www.hkonscreen.org/giving
Ep70: Interview with “Hong Kong Independent Short Film Award 2025” Curator Vincent Cui
🎬 The shortlisted films from the Hong Kong Independent Short Film Award 2025 will be screened in Los Angeles 🏙️ on three consecutive Saturdays: June 14, 21, and 28.
🎙️ In this episode, we speak with our good friend, director Vincent Cui, for an in-depth conversation about the origins of the short film awards, the judging process, and the stories behind the winning selections.
🔥 Cui also expands on the reasons behind the withdrawal of one of the shortlisted works, A Spark That Cannot Ignite a Prairie Fire, from a planned five-city international showcase, and shares his feelings of disillusionment in the face of recent challenges.
🏆 Finally, we discuss the results of the latest Hong Kong Film Awards and what they might mean for the future of independent cinema in the city.
--- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org. Support the show: https://www.hkonscreen.org/giving
🎧 HKOS Podcast: New Episode! Ep69 - A conversation with Film Music Producer Day Tai 🎬 The film Love Lies premiered nationwide in the U.S. on December 6! For those who haven’t purchased tickets yet, don’t miss the chance to watch it during its limited run.
In this episode, we are thrilled to have Day Tai, a three-time Hong Kong Film Awards winner, join us to explore the essence of 🎼 film scoring, its production process, and its importance to movies. We also look back at his remarkable career since entering the industry in 1998 and delve into his work on Love Lies: ✨ How he chose the signature sounds to represent the film
🎤 How he tailored songs to highlight the unique qualities of the singers 🎥 How he seamlessly integrated music with the cinematic narrative Additionally, Day shares behind-the-scenes stories about working with renowned filmmakers such as director Adam Wong and producer Teddy Robin. 🎞️ 📀 Many of Day’s acclaimed works are available on major streaming platforms, including the 2023 special Atmos edition of TheGoldfinger (available on Apple Music) and award-winning soundtracks like:
🎶 The Way We Dance 🎶 She Remembers, He Forgets 🎶 Weeds on Fire
Music lovers, don’t miss this! Tune in now on your favorite streaming platforms. 🔥
--- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org. Support the show: https://www.hkonscreen.org/giving
在本集，主持人與紀錄片製片湯美如 🎥 深入探討其參與製作的多部紀錄片，包括《Denise Ho - Becoming the Song》🎶（2020）、《Faceless》😷（2022）以及《寧化飛灰》🔥（2023）。節目最後，Nancy還分享了對海外香港人🌏如何應對2019年後香港🇭🇰局勢的看法。
🎥 A documentary for Hong Kongers, Rather Be Ashes Than Dust, will be screened at Starlight Whittier Village Cinemas 🌟 in Los Angeles. Producer Nancy Tong will attend pre- and post-screening discussions.
In this podcast episode, the host engages in a deep conversation with documentary producer Nancy Tong 🎥 about her experiences working on several documentaries, including Denise Ho - Becoming the Song (2020) 🎶, Faceless (2022) 😷, and Rather Be Ashes than Dust (2023) 🔥. Toward the end of the episode, Nancy shares her thoughts on how overseas Hongkongers 🌏 should respond to the post-2019 situation in Hong Kong 🇭🇰.
--- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org. Support the show: https://www.hkonscreen.org/giving
Ep. 67: Rather Be Ashes than Dust w/ Director Alan Lau [Cantonese]
03 Dec 2024
00:48:17
🎥 紀錄片《寧化飛灰》（Rather Be Ashes Than Dust），一部屬於香港人的作品，將於洛杉磯 🌟 Starlight Whittier Village Cinemas 放映。屆時，制片人湯美如將出席映前與映後的座談會🎙️。電影門票可於以下連結購買：🔗 https://booking.starlightcinemas.com/login/1003/111626（選擇 “Continue as Guest” 即可購票 🎫）。
🎥 A documentary for Hong Kongers, Rather Be Ashes Than Dust, will be screened at Starlight Whittier Village Cinemas 🌟 in Los Angeles. Producer Nancy Tong will attend pre- and post-screening discussions. Tickets are available here:🔗 https://booking.starlightcinemas.com/login/1003/111626 (Note: Select "Continue as Guest" to purchase directly🎫).
🎧 In this podcast episode, the host talks in depth with director Alan Lau about the filmmaking process, personal experiences, and observations after emigrating to the UK🇬🇧. The director also encourages Hong Kong filmmakers to broaden their visions 🌏, engage in creative projects, and continue speaking out for Hong Kong📢.
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Ahead of the Los Angeles Premiere of this year’s Teddy Award-winning film ALL SHALL BE WELL, we interview director Ray Yeung and producer Teresa Kwong on their take on the story and style of the film, the journey of bringing the film to screen, and the film’s unlikely connections to Johnnie To and Wong Kar-wai!
2nd Hong Kong On Screen Film Festival – All Shall Be Well Date: September 7, 2024 (Sat) Time: 7:00 PM Location: Starlight Whittier Village Cinemas Get your tickets here!
Movies mentioned: All Shall Be Well《從今以後》 Suk Suk (Twilight’s Kiss)《叔·叔》 Five Easy Pieces《輪流傳》
Director Chow Kwun-wai describes *BEYOND THE DREAM* as his first personal feature-length film, although he had previously completed *A COMPLICATED STORY* and the "Self-immolator" short in *TEN YEARS*, which won Best Film at the Hong Kong Film Awards. Hong Kong On Screen is honored to include *BEYOND THE DREAM* in the second "Hong Kong On Screen Festival" online screening lineup. The film was free for global viewing from August 25, 2024, at midnight Pacific Time until 11:59 p.m. on September 1, 2024. Additionally, a short introduction by Director Chow, explicitly recorded for registered viewers, has been included, and an enthusiastic response has been received. We thank all viewers for their support, especially those who generously donated!
In this podcast episode, we review all the films in which Director Chow has been involved and mention his recent co-production in Taiwan, which is also his first "Hong Kong film" shot in a non-Cantonese language. Listeners can also check out episodes 12 and 13 of our podcast, where we discuss in detail his Golden Horse Award-winning work, *REVOLUTION OF OUR TIMES*.
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Episode 7: “TVB’s Impact on the Emergence of ‘Hong Kong’ and the ‘Hong Konger’ Identity"
Television Broadcasting Limited (TVB) was founded in 1967 and had, by the 1970s, become a popular and influential entertainment and information program in Hong Kong. Even Hong Kong cinema was directly influenced by the rise of television. Television soon became a training ground for talent in the film industry: successful televisions were often adapted into movies, and it was common for successful television personnel to be introduced into the film industry. Television dramas and news programs also established a distinctive identity for the people of Hong Kong. Cantonese Television even helped shift Hong Kong Cinema’s market from being a Mandarin-dominated market to being Cantonese-dominated. In the 1970s, Hong Kong cinema completed a generational transition, with the previous generation of directors and writers retiring from the scene and a new generation of filmmakers from Hong Kong taking over. Notable directors who emerged from this period include John Woo, Sammo Hung, and Tsui Hark, who all established themselves as leading figures in the industry. In addition to new filmmakers, new film genres such as martial arts films, crime films, gangster films, and gambling films also emerged in the 1970s, which had not been seen before.
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Episode 6: “The Emergence of Golden Harvest and the Flourishing of the Film Industry in the 1970s Under Free Competition"
At the start of the 1970s, the Shaw Brothers Company, with its studios and cinema chains and a massive production volume, seemed like an invincible giant in the film industry. However, it created its formidable competitor: Raymond Chow, a former Shaw Brothers executive. Chow left the company due to disagreements with Mona Fong's management and founded Golden Harvest. Golden Harvest discovered Bruce Lee, took over Cathay Organization's studios, and established its cinema chain. The success of Michael Hui's comedies repeatedly broke box office records. Golden Harvest evolved from a financially struggling company into an internationally renowned giant capable of rivaling Shaw Brothers. It became a pillar of Hong Kong cinema from the 1980s to the 1990s, embodying a legendary success story.
In addition to Golden Harvest, several independent film companies achieved significant box office success during the 1970s, bringing fresh ideas to the industry. These included companies like Seasonal Film Corporation and Bo Ho Film Company, which thrived due to the free competition in Hong Kong's film industry.
In this sixth episode of the podcast, we divided our discussion into three segments. In the third segment, we covered the following topics:
How were Hong Kong and Taiwanese films related in the 1970s, and why can this period be considered the closest in history?
With the cessation of Cantonese films, Taiwanese films entered the Hong Kong market. Which works were well-received?
Why did many Taiwanese filmmakers come to Hong Kong to register companies and conduct post-production work there?
Why did Hong Kong's post-production industry benefit from the influx of Taiwanese films during this period?
How did Taiwanese films decline in Hong Kong, and how is this related to the creative explosion in Hong Kong's free atmosphere? How did Hong Kong surpass Taiwanese filmmakers' works in a free environment?
Did "Filmmakers from Mainland China" continue to develop in the 1970s?
What connections existed between Hong Kong's film and foreign (mainly American) film industries? What impact did their interactions since the 1960s have on Hong Kong film production?
In the 1970s, many film studios closed down and were replaced by equipment rental companies, such as Salon. Why did this phenomenon occur, and what contributions did it make to the film industry?
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Episode 6: “The Emergence of Golden Harvest and the Flourishing of the Film Industry in the 1970s Under Free Competition"
At the start of the 1970s, the Shaw Brothers Company, with its studios and cinema chains and a massive production volume, seemed like an invincible giant in the film industry. However, it created its formidable competitor: Raymond Chow, a former Shaw Brothers executive. Chow left the company due to disagreements with Mona Fong's management and founded Golden Harvest. Golden Harvest discovered Bruce Lee, took over Cathay Organization's studios, and established its cinema chain. The success of Michael Hui's comedies repeatedly broke box office records. Golden Harvest evolved from a financially struggling company into an internationally renowned giant capable of rivaling Shaw Brothers. It became a pillar of Hong Kong cinema from the 1980s to the 1990s, embodying a legendary success story.
In addition to Golden Harvest, several independent film companies achieved significant box office success during the 1970s, bringing fresh ideas to the industry. These included companies like Seasonal Film Corporation and Bo Ho Film Company, which thrived due to the free competition in Hong Kong's film industry.
In this sixth episode of the podcast, we divided our discussion into three segments. In the second segment, we covered the following topics:
How did Golden Harvest overcome the difficulties following Bruce Lee's sudden death?
In the 1970s, Hong Kong society transitioned from traditional to modern, with the film industry reflecting this social change. How did Golden Harvest surpass Shaw Brothers during this transformation?
Golden Harvest had many stars. How significant were the influences of Sammo Hung, Michael Hui, John Woo, and Jackie Chan?
What are comedy kung fu films? What are some famous works, and how did they influence "Kung Fu Panda"?
How did comedy kung fu films help Cantonese-language movies become mainstream in Hong Kong?
Besides Golden Harvest, many independent film production companies emerged in the 1970s. Who were involved, and what works did they produce?
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
"The Lyricist Wannabe" was screened on May 25th at 3:00 PM at Starlight Whittier Village Cinemas 🎬✨. We thank everyone who came to watch the film 💖 and special thanks to director Norris Wong and producer Hoi Wong for coming in person to share with us 🙏.
In this episode of the podcast, we mainly discussed with the director the initial inspiration for making the film 🎥, the logic behind choosing locations 📍, the challenges faced during filming 💪, and their thoughts on the outcome of the dream of becoming a lyricist 🎶.
Listen here: https://hkonscreen.firstory.io/ 🎧
---
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Episode 6: “The Emergence of Golden Harvest and the Flourishing of the Film Industry in the 1970s Under Free Competition"
At the start of the 1970s, the Shaw Brothers Company, with its studios and cinema chains and a massive production volume, seemed like an invincible giant in the film industry. However, it created its formidable competitor: Raymond Chow, a former Shaw Brothers executive. Chow left the company due to disagreements with Mona Fong's management and founded Golden Harvest. Golden Harvest discovered Bruce Lee, took over Cathay Organization's studios, and established its cinema chain. The success of Michael Hui's comedies repeatedly broke box office records. Golden Harvest evolved from a financially struggling company into an internationally renowned giant capable of rivaling Shaw Brothers. It became a pillar of Hong Kong cinema from the 1980s to the 1990s, embodying a legendary success story.
In addition to Golden Harvest, several independent film companies achieved significant box office success during the 1970s, bringing fresh ideas to the industry. These included companies like Seasonal Film Corporation and Bo Ho Film Company, which thrived due to the free competition in Hong Kong's film industry.
In this sixth episode of the podcast, we divided our discussion into three segments. In the first segment, we covered the following topics:
The background of Golden Harvest's establishment: What is the background of its founders? What personnel did Raymond Chow take with him from Shaw Brothers? What were the reasons for the departure?
Chang Cheh initially planned to leave with Raymond Chow but ultimately did not—why was that?
How did the emergence of the superstar Bruce Lee save Golden Harvest?
How did kung fu films become box office hits after Bruce Lee's appearance, and how did they differ from the earlier wuxia films?
What defines a true kung fu film?
What was Golden Harvest's satellite company, and how did Golden Harvest utilize it to reduce costs?
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
"The Lyricist Wannabe" will be screened on May 25th at 3:00 PM at Starlight Whittier Village Cinemas. For more details, please visit: https://www.hkonscreen.org/lyricist 🎬✨.
In this podcast episode, we mainly discussed with the director about the box office of "The Lyricist Wannabe,” which finally reached 7 million 💸, from being very anxious 😰 to eventually breaking even 😅. Additionally, because the director participated in the production of the Netflix series "At the Moment," we also discussed the differences between film/television production in Taiwan and Hong Kong 🎥🇹🇼🇭🇰. Moreover, we discussed the experiences gained from the government's First Feature Film Initiative, which involved self-financed film production and participation in high-budget international productions 🌏🎬.
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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
🎙️📽️🌸 In this episode of the podcast, the host and the director discussed the following points regarding the documentary "Pai Niang Niang: The Last Osmanthus Blossom":
🔍 How was the videotape buried for 52 years discovered? What was recorded on the tape? 👩🎤 What is this discovery related to Rebecca Pan (Sister Pan)? What is "Pai Niang Niang"? What are Sister Pan's expectations for this musical? 🎭 How did we first know Sister Pan? 🎬 Does Sister Pan like acting? Is she an actress or a singer? 💡 What was the most challenging part of making this documentary? 🌍 What are the director's expectations for finally bringing this documentary to overseas audiences? 📅 When will Sister Pan's documentary be released? What does it contain?
🎥 This documentary will be screened for FREE at the McCormick Screening Room, UC Irvine, on May 29th at 4 pm. The director will personally attend a post-screening interview. Please make time to attend!
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
The North American premiere of "BACK HOME" has finally arrived, and Hong Kong's film enthusiasts should mark March 29th on their calendars and purchase their tickets promptly.
"Hong Kong On Screen" was delighted to have been invited by the US distributor to conduct a brief yet insightful interview with the film's director, Nate Ki. The discussion covered the film's genesis and delved into the concept of Mirror (A Hong Kong Cantopop Boy group) culture. The director expressed admiration for AK (Anson Kong) fans, which deeply moved the film's crew. If you're interested in hearing more, the interview can be listened to now.
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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Ep. 55: Spacked Out w/ Director Lawrence Lau [English]
15 Jan 2024
00:25:45
We interview director Lawrence Lau of Spacked Out on the impressionistic, romantic style of his film, working with Johnnie To, and what the hell “spacked out” actually means!
Films mentioned: Spacked Out《無人駕駛》 Gangs《童黨》 Queen of Temple Street《廟街皇后》 Lee Rock《雷洛傳》
Episode 5: “Changes in Hong Kong Cinema in the 1960s”
The 1960s for the Hong Kong film industry was, for the most part, a continuation of the 1950s. Many key directors and screenwriters of the era had their origins rooted in the group that emerged in the 1950s; as such, creative theories in regard to filmmaking changed little during this time.
However, during the 1960s, Hong Kong’s economy had begun to break off from the economically impoverished state of the 1950s, entering instead into a relative period of prosperity.
For Cantonese cinema, tragic art films were gradually replaced by “Family Style” middle-class and young family comedies. These films celebrated the self-supported “Factory Girl” and youth films that focused on the worry of a new generation that might be led astray. These gave rise to then-upcoming stars like Connie Chan Po-chu and Josephine Siao Fong-Fong, who had fervent film fanbases.
As for Mandarin Films, their economic growth created an attitude of pursuing individual freedom, leading to Chang Cheh's use of Wuxia films to appeal to masculine audiences—completely changing the tradition of female movie stars dominating Hong Kong and even Chinese Cinema.
In this fifth episode of the podcast, we have three segments, each focusing on the following topics;
5.1 The overall characteristics of the Hong Kong film industry in the 1960s, with a specific focus on discussing three popular Cantonese film genres, including martial arts films, romantic comedies featuring married couples, and youth musical films.
5.2 How the paradigm shift in popular Chang Cheh's Mandarin martial arts films of the 1960s influenced subsequent Hong Kong films. Additionally, there is a specific emphasis on discussing the films of directors Cheung Po Kin (Chu Yuan) and Lung Kong.
5.3 Some unique phenomena in the 1960s film industry, the impact of the six-seven riots and wireless TV broadcasting on Hong Kong cinema, and finally, the reasons for the cessation of Hong Kong Cantonese films.
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Episode 5: “Changes in Hong Kong Cinema in the 1960s”
The 1960s for the Hong Kong film industry was, for the most part, a continuation of the 1950s. Many key directors and screenwriters of the era had their origins rooted in the group that emerged in the 1950s; as such, creative theories in regard to filmmaking changed little during this time.
However, during the 1960s, Hong Kong’s economy had begun to break off from the economically impoverished state of the 1950s, entering instead into a relative period of prosperity.
For Cantonese cinema, tragic art films were gradually replaced by “Family Style” middle-class and young family comedies. These films celebrated the self-supported “Factory Girl” and youth films that focused on the worry of a new generation that might be led astray. These gave rise to then-upcoming stars like Connie Chan Po-chu and Josephine Siao Fong-Fong, who had fervent film fanbases.
As for Mandarin Films, their economic growth created an attitude of pursuing individual freedom, leading to Chang Cheh's use of Wuxia films to appeal to masculine audiences—completely changing the tradition of female movie stars dominating Hong Kong and even Chinese Cinema.
In this fifth episode of the podcast, we have three segments, each focusing on the following topics;
5.1 The overall characteristics of the Hong Kong film industry in the 1960s, with a specific focus on discussing three popular Cantonese film genres, including martial arts films, romantic comedies featuring married couples, and youth musical films.
5.2 How the paradigm shift in popular Chang Cheh's Mandarin martial arts films of the 1960s influenced subsequent Hong Kong films. Additionally, there is a specific emphasis on discussing the films of directors Cheung Po Kin (Chu Yuan) and Lung Kong.
5.3 Some unique phenomena in the 1960s film industry, the impact of the six-seven riots and wireless TV broadcasting on Hong Kong cinema, and finally, the reasons for the cessation of Hong Kong Cantonese films.
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
🕵️ 🔎 👁️🗨️ To help more people understand the behind-the-scenes story of the film IN BROAD DAYLIGHT, HKOS is delighted to invite the veteran journalist Mr. Edward Choi, who was the head of the investigative team that uncovered several stories related to IN BROAD DAYLIGHT to record this podcast episode with us. Besides explaining the stories behind the investigative news that day, Mr. Choi shares his perspectives on the film.
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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
🎞️🎞️🎞️ Earlier, in the 'HKOS Indie Film Online Showcase,' we showed three films from director Vincent Cui: 'Fig' (2013), 'Leaving in Sorrow' (2002), and 'Three Narrow Gatess' (2009).
In this episode, we discussed the creative process of these three films and the significance of watching these works today with the director. Many questions were discussed, such as:
👉 The religious consciousness inside the films is quite prominent. Does the director himself have a religious belief? 👉 All three films were shot in locations outside Hong Kong. Did the director encounter any difficulties during the filming? 👉 Does the director only focus on independent productions? 👉 Does 'Leaving in Sorrow' have an alternate ending? 👉 Why should one make movies when young and as soon as possible? 👉 Have these three independent films been publicly screened in Hong Kong or elsewhere? 👉 How does the director shoot films based on the script? 👉 Can the texts of these three films be read about each other? 👉 Are there any future film projects? 👉 How can overseas Chinese support independent productions in Hong Kong?
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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Episode 5: “Changes in Hong Kong Cinema in the 1960s”
The 1960s for the Hong Kong film industry was, for the most part, a continuation of the 1950s. Many key directors and screenwriters of the era had their origins rooted in the group that emerged in the 1950s; as such, creative theories in regard to filmmaking changed little during this time.
However, during the 1960s, Hong Kong’s economy had begun to break off from the economically impoverished state of the 1950s, entering instead into a relative period of prosperity.
For Cantonese cinema, tragic art films were gradually replaced by “Family Style” middle-class and young family comedies. These films celebrated the self-supported “Factory Girl” and youth films that focused on the worry of a new generation that might be led astray. These gave rise to then-upcoming stars like Connie Chan Po-chu and Josephine Siao Fong-Fong, who had fervent film fanbases.
As for Mandarin Films, their economic growth created an attitude of pursuing individual freedom, leading to Chang Cheh's use of Wuxia films to appeal to masculine audiences—completely changing the tradition of female movie stars dominating Hong Kong and even Chinese Cinema.
In this fifth episode of the podcast, we have three segments, each focusing on the following topics;
5.1 The overall characteristics of the Hong Kong film industry in the 1960s, with a specific focus on discussing three popular Cantonese film genres, including martial arts films, romantic comedies featuring married couples, and youth musical films.
5.2 How the paradigm shift in popular Chang Cheh's Mandarin martial arts films of the 1960s influenced subsequent Hong Kong films. Additionally, there is a specific emphasis on discussing the films of directors Cheung Po Kin (Chu Yuan) and Lung Kong.
5.3 Some unique phenomena in the 1960s film industry, the impact of the six-seven riots and wireless TV broadcasting on Hong Kong cinema, and finally, the reasons for the cessation of Hong Kong Cantonese films.
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Vanished Archives (2017) is one of the films featured in the HKOS Indie Film Online Showcase (for more info: https://www.hkonscreen.org/indie-home).
In this episode, the Director of "Vanishing Archive" details some important incidents and characters she discovered about the 1967 Riot. Director Connie Yan-wai Lo also recounts some difficulties and feedback she has encountered in the film's post-production and reception.
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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Vanished Archives (2017) is one of the films featured in the HKOS Indie Film Online Showcase (for more info: https://www.hkonscreen.org/indie-home).
In this episode, the Director of "Vanishing Archives (2017)" speaks to the origin of the project and the attempt by Hong Kong's traditional Leftists to revisit and rewrite the history of the 1967 Riot at the incident's 50th Anniversary in 2017. Most importantly, Director Connie Yan-wai Lo reveals what she has discovered about this history in the process of researching for the film, especially on the discrepancies between the narration of the traditional Left and what she has found in the archive.
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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Ep. 47: Bamboo Theatre w/ Director Cheuk Cheung [Cantonese]
04 Nov 2023
01:17:35
In this episode, director Cheuk Cheung joins us to discuss several aspects of his documentary Bamboo Theatre, including the behind-the-scenes process, his direct cinema stylistic choices, and the context of several important sections.
Bamboo Theatre is screening as part of HKOS’s Indie Film Online Showcase, from Oct. 30 to Nov. 5, 2023.
Films mentioned: Bamboo Theatre《戲棚》 My Way《乾旦路》 My Next Step《一個武生》 Farewell My Concubine《霸王別姬》 Hu-Du-Men《虎度門》 Two Stage Sisters《舞台姐妹》 A City of Sadness《悲情城市》
3CM (2019) is one of the films featured in the HKOS Indie Film Online Showcase (for more info: https://www.hkonscreen.org/indie-home). Despite its seemingly insignificant distance, 3CM (2019) serves as a crucial marker of life and death for patients with tuberous sclerosis, impacting their ability to access the proper medication. The film takes the perspective of two mothers from diverse backgrounds who embark on a journey to fight for their right to survival and dignity, thereby exploring issues related to public policy and social justice. 3CM (2019) is not only a story of rare disease patients but also a story of the people of Hong Kong.
In this episode, director Wong Siu-pong of 3CM (2019) joins the discussion to explore:
Why did the director choose the relatively unique topic of rare diseases? What was the inspiration behind making this documentary?
Issues like drug policies, medical ethics, and public health can be pretty heavy and complex, often requiring much information for the general audience to understand. How did the director balance the different materials to engage the audience and keep them interested?
Filmmaking, like life, is unpredictable. During the editing process, what challenges did the director face, and how did they select and arrange the materials?
The film focuses on the caregiver community and their journey to advocate for their rights rather than solely depicting the severe conditions of rare disease patients. What was the reasoning behind this approach?
The interviewees in the documentary are very candid and trusting in sharing their thoughts. How did the director establish this rapport?
One of the core messages of the film is about speaking up for oneself and trying to bring about change. We see how the interviewees in the movie do this, but for the director, what does "speaking up" mean?
The film ends with a stark visual contrast. What message does the director hope to convey with this ending?
Previously, the film was screened locally in Hong Kong, and due to the pandemic, it may not have reached many viewers. With online screening, it can reach an international audience. What are the director's thoughts on this?
Could you give us a glimpse of the director's upcoming film projects?
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Ep. 45: Interview w/ SDAFF Artistic Director Brian Hu (II) [English]
02 Nov 2023
01:08:51
The Artistic Director of the San Diego Asian Film Festival Brian Hu returns to our podcast! In this mega episode, we unveil the inner workings of a major film festival and dive into highlights from this year’s edition, including the three Hong Kong films in the official selection – Mad Fate, Elegies, and Farewell My Concubine. Later, Brian discusses his thoughts on contemporary Hong Kong and Asian cinema, and gives advice to filmmakers looking to submit.
Movies mentioned: Drug War《毒戰》 Romancing in Thin Air《高海拔之戀II》 Don’t Go Breaking My Heart《單身男女》 The Oath of the Sword Youth (Spring)《青春》 Mad Fate《命案》 Elegies《詩》 Keep Rolling《好好拍電影》 Farewell My Concubine《霸王別姬》 The Narrow Road《窄路微塵》 Table for Six《飯戲攻心》 A Guilty Conscience《毒舌大狀》
💙💙💙 The film "Farewell My Concubine" is adapted from the novel of the same name by 🇭🇰Hong Kong writer Lilian Lee. Directed by Chen Kaige, written by Lu Wei, and starring Leslie Cheung🇭🇰, Gong Li, Zhang Fengyi, Ge You, and others, this movie can be considered a classic collaboration that brought together financial, material, and human resources from Mainland China, Hong Kong, and Taiwan. As a flagship film with the highest artistic achievements in the Chinese-language film industry and enjoying worldwide acclaim, "Farewell My Concubine" has been beloved by millions of fans since its release in 1993. It broke the box office records for mainland Chinese art films in the United States. It won numerous international honors for Chen Kaige, including the Palme d'Or at the 1993 Cannes Film Festival, the Golden Globe Award for Best Foreign Language Film, and awards from the International Federation of Film Critics. In 2005, "Farewell My Concubine" was selected as one of the "100 All-Time Best Films" by Time magazine, marking a brilliant chapter in Chen Kaige's directorial career.
🌟🌟🌟 When the film reached US theaters in 1993, Miramax's Harvey Weinstein cut 14 minutes from the movie. Film Movement is now being returned to theaters in its full 171-minute glory, courtesy of Film Movement Classics. The distributor will release a newly restored 4K version in North American theaters beginning September 22 at the Film Forum in New York City.
Audiences in Los Angeles can see this version on the big screen on September 29 at the Nuart Theatre.
To make it grand, we produced a four-episode podcast, inviting four scholars to discuss the significance of this Chinese-language film, "Farewell My Concubine," from their respective fields. Two of the four episodes will be conducted in English, and the other two will be recorded in Cantonese.
In the final episode, Professor Ho-fung Hung from Johns Hopkins University joined us to discuss how the Chinese historical perspectives presented in "Farewell My Concubine" differ from contemporary official narratives. Furthermore, what are the similarities and differences between the movie's portrayal of the Cultural Revolution and today's prevailing official ideology?
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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Ep. 43: Farewell My Concubine w/ Prof. Chris Berry 3/4 [English]
11 Oct 2023
00:59:08
Continuing our 4-part series on the seminal film Farewell My Concubine, Prof. Chris Berry joins us to discuss the film in the context of the Fifth Generation of Chinese cinema, its queer representation, and its taboo depiction of the Cultural Revolution.
Films mentioned: Farewell My Concubine《霸王別姬》 Serfs《農奴》 To Live《活着》 Hero《英雄》 Yellow Earth《黃土地》 Red Sorghum《紅高粱》 Blue Kite《藍風箏》 Horse Thief《盜馬賊》 A City of Sadness《悲情城市》 The Battle at Lake Changjin《長津湖》 The Battle at Lake Changjin II《長津湖之水門橋》 Full River Red《滿江紅》 East Palace West Palace《東宮西宮》
☠️☠️☠️ In this episode, the hosts discussed Juno Mak's 2013 film "Rigor Mortis," which he wrote and directed. This film pays tribute to 1980s zombie film (derived from Taoist folklore) series like "Mr. Vampire" and features many stars who were part of 1980s "hopping vampire" movies. The hosts also discussed how Juno Mak and Takashi Shimizu meticulously designed the scenes and the significance of remaking zombie films in 2013.
A group of people enjoy taking mundane activities seriously in some corners of the world. They love watching movies 🎞️ and eating popcorn 🍿️. These somewhat eccentric individuals are multilingual and well-versed in unique Hong Kong community slang. They share their opinions on various films with the general public in a relatable but not vulgar manner. They aim to spread happiness 🥳 and invite all cinephiles 👯 to discuss movies 🎬 and enjoy popcorn 🍿️ together.
麥浚龍,殭屍,殭屍先生,清水崇,殭屍電影,香港電影
----------------------- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
In this podcast episode, the director talked about where the script's inspiration came from, how the characters were found, how each character's personality was defined, and why he chose to use the work of independent singer-songwriters as the film's soundtrack.
--------------------- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
"Hong Kong On Screen" will premiere director Wong Ho-yan's latest work 'Everyphone Everywhere' at Starlight Whittier Village Cinemas on September 30. For more details, please visit: https://www.hkonscreen.org/news/202309-everyphone-everywhere
In this podcast episode, director Amos WHY (Wong Ho-yan) discusses what is the Golden Horse Film Investment Forum (GHFIF) and his insights on the Hong Kong film industry. In the next episode, we will focus on the thoughts behind the production of 'Everyphone Everywhere.' This podcast episode will be available for listening at 5:00 PM on September 30, right after the film's screening!
Listen to Director Wong Ho-yan's thoughts on the film industry now!
--------------------- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
❣️❣️❣️ The film "Farewell My Concubine" is adapted from the novel of the same name by 🇭🇰Hong Kong writer Lilian Lee. Directed by Chen Kaige, written by Lu Wei, and starring Leslie Cheung🇭🇰, Gong Li, Zhang Fengyi, Ge You, and others, this movie can be considered a classic collaboration that brought together financial, material, and human resources from Mainland China, Hong Kong, and Taiwan. As a flagship film with the highest artistic achievements in the Chinese-language film industry and enjoying worldwide acclaim, "Farewell My Concubine" has been beloved by millions of fans since its release in 1993. It broke the box office records for mainland Chinese art films in the United States. It won numerous international honors for Chen Kaige, including the Palme d'Or at the 1993 Cannes Film Festival, the Golden Globe Award for Best Foreign Language Film, and awards from the International Federation of Film Critics. In 2005, "Farewell My Concubine" was selected as one of the "100 All-Time Best Films" by Time magazine, marking a brilliant chapter in Chen Kaige's directorial career.
🌕🌕🌕 When the film reached US theaters in 1993, Miramax's Harvey Weinstein cut 14 minutes from the movie. Film Movement is now being returned to theaters in its full 171-minute glory, courtesy of Film Movement Classics. The distributor will release a newly restored 4K version in North American theaters beginning September 22 at the Film Forum in New York City.
Audiences in Los Angeles can see this version on the big screen on September 29 at the Nuart Theatre.
To make it grand, we produced a four-episode podcast, inviting four scholars to discuss the significance of this Chinese-language film, "Farewell My Concubine," from their respective fields. Two of the four episodes will be conducted in English, and the other two will be recorded in Cantonese.
In this episode, the two hosts discuss various aspects of the research direction for "Farewell My Concubine," such as the different versions of novels and films. What are the differences in the endings? How does the director of "Farewell My Concubine" view Chinese tradition, and how does Leslie Cheung, as a star figure, draw inspiration from the film "Farewell My Concubine"?
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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
❣️❣️❣️ The film "Farewell My Concubine" is adapted from the novel of the same name by 🇭🇰Hong Kong writer Lilian Lee. Directed by Chen Kaige, written by Lu Wei, and starring Leslie Cheung🇭🇰, Gong Li, Zhang Fengyi, Ge You, and others, this movie can be considered a classic collaboration that brought together financial, material, and human resources from Mainland China, Hong Kong, and Taiwan. As a flagship film with the highest artistic achievements in the Chinese-language film industry and enjoying worldwide acclaim, "Farewell My Concubine" has been beloved by millions of fans since its release in 1993. It broke the box office records for mainland Chinese art films in the United States. It won numerous international honors for Chen Kaige, including the Palme d'Or at the 1993 Cannes Film Festival, the Golden Globe Award for Best Foreign Language Film, and awards from the International Federation of Film Critics. In 2005, "Farewell My Concubine" was selected as one of the "100 All-Time Best Films" by Time magazine, marking a brilliant chapter in Chen Kaige's directorial career.
🌕🌕🌕 When the film reached US theaters in 1993, Miramax's Harvey Weinstein cut 14 minutes from the movie. Film Movement is now being returned to theaters in its full 171-minute glory, courtesy of Film Movement Classics. The distributor will release a newly restored 4K version in North American theaters beginning September 22 at the Film Forum in New York City.
Audiences in Los Angeles can see this version on the big screen on September 29 at the Nuart Theatre.
To make it grand, we produced a four-episode podcast, inviting four scholars to discuss the significance of this Chinese-language film, "Farewell My Concubine," from their respective fields. Two of the four episodes will be conducted in English, and the other two will be recorded in Cantonese.
In this first episode, Dr. Stanley Rosen, a Political Science professor from USC, will discuss what Harvey Weinstein cut in the film when it first reached the US theaters in 1993 and the political significance of 1993 when it was released in mainland China.
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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
In this episode, we have discussed the film MY PRINCE EDWARD (2019), directed by Norris Wong. The film explores the balance between life and survival for middle-aged Hong Kong women through the characters of Cheung Lai-Fong, played by Stephy Tang, and her boyfriend Yan Chun-wing, played by CHU Pak Hong. It delves into their journey from love, life, and engagement to marriage preparation. Additionally, it examines how the fast-paced culture of Hong Kong in the past has influenced everyday decisions, as seen in the wedding shops of the Golden Plaza.
A group of people enjoy taking mundane activities seriously in some corners of the world. They love watching movies 🎞️ and eating popcorn 🍿️. These somewhat eccentric individuals are multilingual and well-versed in unique Hong Kong community slang. They share their opinions on various films with the general public in a relatable but not vulgar manner. They aim to spread happiness 🥳 and invite all cinephiles 👯 to discuss movies 🎬 and enjoy popcorn 🍿️ together.
----------------------- The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Ep. 38: Hong Kong Spectral Cinema and the 1997 Turnover [Cantonese]
16 Sep 2023
00:51:08
In this episode, we aimed to explore Hong Kong's spectral cinema from the 1980s - the 2000s, the perception of 1997, and Hong Kong's changing cultural and political identity. During the discussion, the hosts discussed three ghost films, namely Stanley Kwan's ROUGE (胭脂扣，1987), Clara Law's THE REINCARNATION OF GOLDEN LOTUS (潘金蓮的前世金生, 1989) and Fruit Chan's DUMPLINGS (餃子, 2004).
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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Ep. 37: On Pang Ho-cheung's DREAM HOME 維多利亞壹號 (Starring Josie Ho) [Cantonese]
05 Sep 2023
00:35:15
In this episode, we have discussed DREAM HOME - which Josie Ho starred in. In the discussion, we have discussed: What is a cult film? What is the most terrifying scene? How is Josie Ho's performance? Is it similar to OVER MY DEAD BODY （死屍死時四十四）and other similar films?
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Outline of Introduction to Hong Kong Film Industry Podcast Part 4 About this series of podcasts, please check here.
Part 4: Left-Right Opposition and the Competition of the Two Titans
In this fourth episode of the podcast, we have two segments, each focusing on the following topics; 4.1 The Rise and Fall of MP & GI 4.2 The Rise of Shaw Bros
Outline:
Mandarin Film Industry’s Progress: From Left and Right Opposition to the Competition of Industry Titans “Shaw Bros” and “MP & GI” In the 1950s, Hong Kong’s Mandarin Film Industry’s right and left parties became increasingly diametrically opposed. Leftist companies like the “Great Wall Movie Enterprise” and “Phoenix Motion Enterprise” received support from the leaders of the Chinese Communist Party. While companies that appeared more rightist included “Hsin Hwa Motion Pictures” and “Asia Film Company.” Amongst them were companies that sought to enter and endear themselves to the Taiwanese market, including the “Shaw Bross” and “MP & GI” (also known as Cathay Organization).
Although their political stances were seemingly oppositional, both sides had for a long period where few films openly displayed any political messages-- most movies filmed were commercial features focused foremost on entertainment.
The superiority of Mandarin films gradually became clear through the abundant wealth and influence of Singaporean and Malaysian capital put into companies like “MP & GI” and “Shaw Brothers.”
“MP & GI” use of modern and fashionable films were heavily praised. “Shaw Bros,” on the other hand, was at first less favorably received. Run Run Shaw later acquired a large amount of Singaporean capital to build theaters, produce colored films, raise the manufacturing quality of the industry, and successively established Huangmei Opera and Wuxia as two of the largest film trends.
By the 1960s, these companies were superior within the Mandarin Film Market, and their impact and influence could also be seen in the Cantonese Film Market.
⭐4.2：The Rise of Shaw Bros⭐
In the fourth episode, the second section, we primarily discussed:
What was the origin of the Shaw Bros Group?
Regarding the Shaw Bros Cantonese film division, which important Cantonese-speaking stars were active in its early days? What were the significant Cantonese-language films?
Why was Patricia Lam Fung jokingly called the "Queen of Gestures" early on?
When did Shaw Bros. begin to make significant strides?
Shaw Bros possessed a robust infrastructure (film studios, capital, market), significantly elevating the production quality of Hong Kong cinema. Unfortunately, they had weak creative capacity. How did they address this deficiency?
What were the distinctive features of the Shaw Bros' films? What kind of ideal world did they portray?
Li Han-Hsiang was a pivotal figure at Shaw Bros. Why did he eventually leave the studio?
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Outline of Introduction to Hong Kong Film Industry Podcast Part 4 About this series of podcasts, please check here.
Part 4: Left-Right Opposition and the Competition of the Two Titans
In this fourth episode of the podcast, we have two segments, each focusing on the following topics; 4.1 The Rise and Fall of MP & GI 4.2 The Rise of Shaw Bros
Outline:
Mandarin Film Industry’s Progress: From Left and Right Opposition to the Competition of Industry Titans “Shaw Bros” and “MP & GI” In the 1950s, Hong Kong’s Mandarin Film Industry’s right and left parties became increasingly diametrically opposed. Leftist companies like the “Great Wall Movie Enterprise” and “Phoenix Motion Enterprise” received support from the leaders of the Chinese Communist Party. While companies that appeared more rightist included “Hsin Hwa Motion Pictures” and “Asia Film Company.” Amongst them were companies that sought to enter and endear themselves to the Taiwanese market, including the “Shaw Bross” and “MP & GI” (also known as Cathay Organization).
Although their political stances were seemingly oppositional, both sides had for a long period where few films openly displayed any political messages-- most movies filmed were commercial features focused foremost on entertainment.
The superiority of Mandarin films gradually became clear through the abundant wealth and influence of Singaporean and Malaysian capital put into companies like “MP & GI” and “Shaw Brothers.”
“MP & GI” use of modern and fashionable films were heavily praised. “Shaw Bros,” on the other hand, was at first less favorably received. Run Run Shaw later acquired a large amount of Singaporean capital to build theaters, produce colored films, raise the manufacturing quality of the industry, and successively established Huangmei Opera and Wuxia as two of the largest film trends.
By the 1960s, these companies were superior within the Mandarin Film Market, and their impact and influence could also be seen in the Cantonese Film Market.
4.1 Rise and Fall of MP & GI
In the fourth episode, the first section, we mainly discussed:
How did MP & GI rise to prominence?
Who is the key figure, Loke Wan Tho?
What are the distinctive features of MP & GImovies?
Which is the best movie produced by MP & GI?
Why did MP & GI decline?
Are there any notable celebrities involved?
Who are the important figures in the MP & GI film industry?
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
「The Hong Kong On ScreenPodcast」在這一集特別邀請了香港電影專家Frank Djeng討論了：
為何美國會這麼重視這部電影呢？
西方一致認為《猛龍過江》為李小龍最好的電影，但香港一般認為前三部都比這部好，為什麼呢？
有說李小龍在設計武打時，刻意迎合西方觀眾，究竟什麼是迎合西方品味呢？
有什麼片段被删呢？
《猛龍過江》有什麼特別呢？
李小龍最好的電影是什麼呢？
On the 50th anniversary of Bruce Lee's passing, the first Hong Kong film co-produced with a major American film studio, "Enter the Dragon," was released nationwide in the United States one month after his death, causing a sensation and ranking 13th in the box office for the year in 1973. Bruce Lee became the first Chinese actor to play the lead role in a Hollywood film, significantly influencing the development and status of martial arts films in world cinema history.
Unfortunately, he couldn't witness his achievements and influence during his lifetime. On August 13th and August 16th, Warner Bros. owns the film "Enter the Dragon," which will hold nationwide screenings of the newly restored 4K version. Don't miss the opportunity to see the final work of the legendary Bruce Lee on the big screen.
"The Hong Kong On Screen Podcast" in this episode has invited Hong Kong film expert Frank Djeng to discuss:
Why does the United States value this film so much?
While Western audiences generally regard "Enter the Dragon" as Bruce Lee's best film, Hong Kong audiences believe the first three films are better. Why is that?
It's been said that Bruce Lee intentionally catered to Western audiences when designing martial arts choreography. What exactly constitutes catering to Western tastes?
The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.