In Defense of Miriam Yeung—Love Undercover II

Since Feel 100% II, Dummy Mummy, Without a Baby, and Lover Undercover, uncontrollable laughter has become Miriam Yeung’s trademark. Then a series of typical commercial productions like Dry Wood Fierce Fire, Frugal Game and My Lucky Star further set her on a course of no return, her touching performance with Paul Chun in the TV series Father of the Bride was quite forgotten. The films may be different, but her character is invariable the girl-next-door who harbours no ambition and is quite content with her lot.

替楊千嬅平反 ── 由《新紮師妹2》說起




The trendsetters - My Dream Girl and the Birth of the New Market Films

My Dream Girl was released right after the CEPA announcement in which the restrictions on Hong Kong-mainland joint productions are partially lifted. My Dream Girl then becomes a timely case for study, more of an experiment than Heroic Duo. There are eager talks of a new market among my friends. So, let’s call films with Hong Kong people trying to start anew in the mainland as subject matter the “new market films". My Dream Girl points out that the first issue in new market adaptation is the matter of taste.

Feature of July: The Bobo Nature under Feminism –The Film of Wong Chen Chen

From Women's Private Parts to Truth or Dare: 6th Floor, Rear Flat, I am further convinced that Wong Chen Chen is a utilitarian director, by that I mean the subject matter under her camera is but a means to an end, its nature or content does not mean much to her. Truth is being promoted as a film about young people's lifestyle and the pursuit of their personal dreams. The irony is, it is precisely these parts that have been hollowed out.

女性主義底下的布波族本質 ── 黃真真的電影

黃真真的《女人那話兒》(2001)當然是擺明車馬的女性主義紀錄片,她以全女班的製作組開展攝影工作,已經清楚表明了選取的態度,而從片名的命名策略上,更加可知道她的決心。我們都知道重省「命名」(naming)是女性主義於語言性別歧視研究上的重心方向,尤其在克莉絲蒂娃(Julia Kristeva)的作品中。黃真真選擇把「女人」與一個男性性器代名詞的「那話兒」拼合,明顯便是一透過重新命名,來為女性發聲奪權的取態。但從命名的策略中,我更留意到它同時確認了紀錄片的整體格局:奠定了女性以仿男性的手段來爭逐性別上的權力,間接也在取悅男性的觀眾。換句話說,也是在計算如何把觀眾的入座率盡量提昇──即把男與女一起納入為紀錄片的可能對象作構思。


A Youth Film - Truth or Dare: 6th Floor Rear Flat

Youth, can be very simple; youth film, it turns out, can also be very simple.

Local youth films are invariably of two patterns: either they are like Herman Yau's Give Them a Chance, a tale of struggling for ideals from beginning to end, with a happy ending to make it encouraging; or they are like Shui Gaai Chung's Feel 100% 2003, in which everyone falls in love, falls out of love, or engages in the eternal triangle. Love means everything and love is everything.

「沒有」理想與愛情的青春片 ─ 《六樓后座》





天道無親,常與善人 -《黃昏清兵衛》




The Stumbling Blocks in Cala, My Dog

Whether a realistic film on little people's life can pull it off or not, depends very much on the actors' performance. Ge You, who is more or less prompt to fall into overacting or exaggeration, is much more subdued and at ease here playing Lao Er in Cala, My Dog, though there are still traces of affectation.

Secondary School in a Limbo

Secondary School, Tammy Cheung's latest documentary shown in the Hong Kong Art Centre, is a work that is sure to cause repercussions, and which will come from two sides: the title education sector, and the cinema-going cultural sector. As a member of both, I sometimes find myself at a loss for words.