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Twilight of the Warriors: Walled In
Traditional Chinese九龍城寨之圍城
Directed bySoi Cheang
Screenplay byAu Kin-yee
Chan Tai-lei
Lai Chun
Based onCity of Darkness
by Andy Seto
Produced byJohn Chong
Peter Lam
Wilson Yip
StarringLouis Koo
Raymond Lam
Terrance Lau
Philip Ng
Tony Wu
German Cheung
Sammo Hung
CinematographyCheng Siu-Keung
Edited byCheung Ka-fai
Music byKenji Kawai
Production
companies
Media Asia Films
Entertaining Power
One Cool Film Production Limited
Sil-Metropole Organisation
Lianray Pictures
HG Entertainment
Distributed byMedia Asia Distributions
Release dates
  • April 25, 2024 (2024-04-25) (MCL Movie Town)
  • May 1, 2024 (2024-05-01) (Hong Kong)
Running time
126 minutes
CountryHong Kong
LanguageCantonese

Twilight of the Warriors: Walled In is a 2024 Hong Kong martial arts film directed by Soi Cheang and co-written by Au Kin-yee, Chan Tai-lei, and Lai Chun. Featuring an ensemble cast including Louis Koo, Raymond Lam, Richie Jen, Terrance Lau, Kenny Wong, Philip Ng, Tony Wu, German Cheung and Sammo Hung, the film is loosely adapted from the Hong Kong manhua series City of Darkness authored by Andy Seto, which is based on Yu-Wing Leung's 2009 novel of the same name. Set in the demolished ungoverned enclave of Kowloon Walled City in British Hong Kong, the film revolves around a troubled youth named Chan Lok-kwan (Lam) who seeks refuge in the walled city and is enlisted by the city's guardian leader, Tornado (Koo), to resist the invasion of the crimelord Mr. Big (Hung).

Having been in development since the early 2010s, the film underwent changes in directors and writers and was stuck in development hell for almost a decade. Cheang was attached to the project in February 2021, along with Koo and Jen as the leading cast. Principal photography began in November of the same year and wrapped in April 2022. The film had a budget of approximately US$39 million, which included the construction of a replica set of the Kowloon Walled City, making it one of the most expensive Hong Kong productions of all time.

The film premiered at MCL Movie Town on April 25, 2024, followed by a theatrical release in Hong Kong on May 1. It was also selected for screening at the 2024 Cannes Film Festival.

Synopsis

[edit]

Cast

[edit]
  • Louis Koo as Cyclone: a martial arts master who strives to protect the safety and stability of the residents in the Kowloon Walled City.[1][2]
  • Raymond Lam as Chan Lok-kwun: a refugee who settled in the walled city but became entangled in the chaos within and faced the imminent demolition of the city.[1]
  • Terrance Lau as Shin: the loyal second-in-command of Cyclone's outlaw gang, who later becomes a companion to Lok.[2]
  • Philip Ng as King: Mr. Big's unhinged and indestructible right-hand man.[1]
  • Tony Wu as Twelfth Master: a katana-wielding member of Tiger's mafia and Cyclone's outlaw gang, who later becomes a companion to Chan.[2]
  • German Cheung as AV: a medic and kickboxer in Cyclone's outlaw gang, who later becomes a companion to Chan.[2]
  • Sammo Hung as Mr. Big: a crimelord rival to Cyclone, who solely focuses on maximizing his wealth and personal interests.

Also appearing in the film are Richie Jen as Chau, a mafia boss-turned-landlord and blood brother of Cyclone, who lost his family at the hands of Jim;[2] Kenny Wong as Tiger: a mafia boss based in Temple Street and an acquaintance of Cyclone, who lost an eye in a fight with Jim.[2] Residents of the Walled City include Fish Liew as Yin Fan, a fishmonger with affiliations with Shin;[3] Chu Pak Hong as a drug addict;[4] Law Wing-cheong as Uncle Lang, a grocery store owner; Sean Wong as a child who nearly falls victim to King;[5] and wuxia novelist Jozev Kiu cameos as Double Blade, a restaurateur and skilled swordsman loyal to Cyclone.[2] Cecilia Choi appears as Jim's deceased wife;[4] and Deon Cheung appears as a government official.[6] Additionally, Aaron Kwok makes a cameo appearance as Chan Jim, the Killer King, a martial artist and Chan Lok-kwun's father, who serves as Cyclone's enemy but is secretly acquainted with him.[2] Chung Suet Ying was initially cast in a role, but did not appear in the film.[7]

Production

[edit]

On 13 April 2013, Media Asia announced the project was to be titled Dragon City and set to be directed by Derek Kwok and starring Donnie Yen, who would also serve as action director and producer through his production company, Super Hero Films, and was set to begin production in September of that year.[8][9]

After seemingly stuck in development hell for several years, Media Asia once again announced the project on 28 February 2021, with Soi Cheang set to direct while Koo, Richie Jen and Zhang Jin are set to star.[10] Principal photography for Twilight of the Warriors: Walled In officially began on 22 November 2021, as was revealed in a post on the film's official Facebook page, although the cast was not revealed yet until the film held its production commencement ceremony on 30 November, which was attended by Cheang, producers John Chong and Wilson Yip and cast members Koo, Sammo Hung, Jen, Raymond Lam, Terrance Lau, Kenny Wong, Tony Wu, German Cheung, Philip Ng, Chu Pak Hong and Chung Suet Ying. There Koo revealed that two replica sets of the Kowloon Walled City were built for filming, while actual magazines, record albums, televisions and commercials from the 1980s will be used as props.[11][12] All the main cast spent a year training to prepare for the film's fight scenes.[13]

Filming

[edit]

Principal photography began on November 30, 2021.[14] The crew initially planned to film in mainland China but changed to Hong Kong due to the constraints of the COVID-19 pandemic.[15] The production crew spent over HK$300 million on set construction, building three major on-scale replica sets: one in an unrented land in Kowloon Bay, another in the abandoned Tat Tak School in Yuen Long, and the third at the Shaw Studios and Shing Fung Studios in Sai Kung. These sets covered approximately 80 to 90% of the actual size of the Kowloon Walled City.[16][17] Set decoration was overseen by art director Kenneth Mak.[18] Mak and the crew conducted extensive research using photos and archives that documented the Kowloon Walled City, aiming to replicate the residents' way of life.[16] They gathered vintage antiques such as household goods, electrical appliances, as well as metal gates and window grilles salvaged from buildings slated for demolition, which were used as props on set.[16] Numerous three to four-story buildings were constructed, paying close attention to the chaotic entwinement of electrical wires and water pipes.[17] Additionally, wheels were added to most of the set, which featured over ten interchangeable stage sceneries.[16][18] Mak described the entire set as a "moving castle".[16]

Filming commenced in the replica set in Yuen Long, which included scenes set in the temple, bamboo theatre, Double Blade's two-deck cha chaan teng, and Mr. Big's lair.[17] The production crew then moved to the Sai Kung set, featuring a 200-meter long main street.[17] Scenes shot there included Chan and the outlaw gang taking vigilante action against a drug addict in an alley.[17] Originally scheduled to wrap up after the Lunar New Year of 2022, filming was briefly paused on February 25 due to COVID-19 spreading on set, resulting in actor Deon Cheung and several crew members getting infected.[19][20] Production resumed in March in the replica set built in Kowloon Bay.[19] On March 23, action scenes of Raymond Lam being chased and fighting on a bus near the set were filmed.[19] Additional scenes were shot at the Yau Ma Tei Fruit Market and on Nathan Road.[15] Filming concluded in April 2022.[21]

M+ engaged in discussions with the crew regarding the possible purchase and preservation of the entire replica set for exhibition purposes, but the negotiations did not succeed and all three sets were demolished after the production wrapped up.[16] A day was reserved for aerial shots of the entire Kowloon Bay replica set before the demolition.[16]

Release

[edit]

[6]

Twilight of the Warriors: Walled In is set for theatrical release on 1 May 2024 in Hong Kong and China. The film was also selected to be in the Official Selection (Midnight Screening) of the 2024 Cannes Film Festival which will run from 14 to 25 May 2024.[22]

References

[edit]
  1. ^ a b c Lee, Edmund (May 1, 2024). "Twilight of the Warriors: Walled In movie review – Kowloon Walled City reimagined in Soi Cheang martial arts spectacle". South China Morning Post. Archived from the original on August 19, 2024. Retrieved May 1, 2024.
  2. ^ a b c d e f g h 莫匡堯 (May 1, 2024). "九龍城寨之圍城｜劇情角色介紹　戰力寫實拳拳到肉洗走都市武俠風" (in Chinese). HK01. Archived from the original on May 1, 2024. Retrieved May 1, 2024.
  3. ^ "劉俊謙廖子妤恨去康城參與影展 港產片事隔11年再入選為《九龍城寨之圍城》自豪" (in Chinese). Sing Tao Daily. April 18, 2024. Archived from the original on August 19, 2024. Retrieved April 19, 2024.
  4. ^ a b "九龍城寨之圍城丨首條宣傳片發布　古天樂演龍捲風造型曝光" (in Chinese). TOPick. March 29, 2024. Archived from the original on 4 April 2024. Retrieved April 19, 2024.
  5. ^ "哇~这个惊喜彩蛋终于被发现了，"杰仔"将会在电影九龙城寨之围城中继续发光发热哦[打call][打call]五一一起看九龙城寨！#电影九龙城寨之围城# #电影九龙城寨今日上映#". Weibo (in Chinese). Twilight of the Warriors: Walled In Official Weibo. May 1, 2024. Archived from the original on August 19, 2024. Retrieved May 1, 2024.
  6. ^ a b "九龍城寨之圍城丨郭富城驚喜現身撐港產片　蔡思韵大力摑古天樂感抱歉" (in Chinese). TOPick. April 26, 2024. Archived from the original on August 19, 2024. Retrieved April 28, 2024.
  7. ^ @entertainingpower (November 30, 2021). "今日《九龍城寨•圍城》正式開鏡" – via Instagram.
  8. ^ "Hong Kong's Media Asia Announces Two Donnie Yen Action Vehicles". The Hollywood Reporter. 12 April 2013. Archived from the original on 8 December 2021. Retrieved 10 February 2022.
  9. ^ "ACE COP FIGHTING CRIME IN DRAGON CITY". Archived from the original on 8 December 2021. Retrieved 10 February 2022.
  10. ^ "Media Asia launches second Hong Kong omnibus project". Archived from the original on 21 September 2021. Retrieved 10 February 2022.
  11. ^ "【九龍城寨】古天樂回味80年代香港 洪金寶高興可繼續拍香港電影". Archived from the original on 6 January 2022. Retrieved 10 February 2022.
  12. ^ Chan, Ilsa (2 December 2021). "Sammo Hung, 69, Makes Acting Comeback In HK Movie, Says It's Because He Has "No Money"". 8days.sg. Archived from the original on 25 October 2022. Retrieved 24 October 2022.
  13. ^ "HK actor Sammo Hung to star in new Louis Koo film because he has 'no money'". Archived from the original on 8 December 2021. Retrieved 10 February 2022.
  14. ^ 沈洛嘉 (November 28, 2021). "《九龍城寨·圍城》開鏡卡士曝光　古天樂林峯劉俊謙演「暴力團」" (in Chinese). HK01. Archived from the original on March 17, 2022. Retrieved May 1, 2024.
  15. ^ a b "鄭保瑞重塑寨城日常 三不管以外老香港故事" (in Chinese). Ming Pao. April 19, 2024. Archived from the original on May 1, 2024. Retrieved May 1, 2024.
  16. ^ a b c d e f g 鄭天儀 (April 30, 2024). "【城寨專訪系列 4】還原城寨移動城堡 另一夢幻「big 貴完」麥國強：「拆景時像失去一個家」｜2024 香港電影" (in Chinese). The Culturist. Archived from the original on May 1, 2024. Retrieved May 1, 2024.
  17. ^ a b c d e Wong, Nic (April 27, 2024). "《九龍城寨》原著作者余兒專訪｜小說是原點，漫畫發揚光大" (in Chinese). Jet Magazine. Archived from the original on May 1, 2024. Retrieved May 1, 2024.
  18. ^ a b 許育民 (April 16, 2024). "九龍城寨之圍城｜3億重現80年代景象　古天樂︰似媽媽的餸難忘" (in Chinese). HK01. Archived from the original on August 19, 2024. Retrieved May 1, 2024.
  19. ^ a b c "慌死疫襲妻女！林峯匿車廂開餐　Cut機光速笠罩" (in Chinese). Oriental Daily News. March 23, 2022. Archived from the original on May 1, 2024. Retrieved May 1, 2024.
  20. ^ "張松枝確診求助無門在家隔離" (in Chinese). Sing Tao Daily. February 26, 2022. Retrieved May 1, 2024.
  21. ^ "林峯首亮相ViuTV 唔怕娘家不滿 稱跟無綫冇約：乾乾淨淨" (in Chinese). Ming Pao. April 18, 2022. Archived from the original on August 19, 2024. Retrieved May 1, 2024.
  22. ^ Cite error: The named reference cannes was invoked but never defined (see the help page).
[edit]
This page will be placed in the following categories if it is moved to the article namespace.
Categories:
  • Louis Koo as Cyclone: a martial arts master who strives to protect the safety and stability of the residents in the Kowloon Walled City.[1]
  • Sammo Hung as Mr. Big: a crime lord who is solely focused on maximizing his wealth and personal interests.[2][1]
  • Richie Jen as Chau: a mafia boss-turned-landlord and the blood.[3]
  • Raymond Lam as Chan Lok Kwan (陳洛軍): a refugee who settled in the walled city but became entangled in the chaos within and faced the imminent demolition of the city.[2][4]
  • Terrance Lau as Shin (信一): the loyal second-in-command of Tornado's outlaw gang who later becomes a companion to Chan.[5][2]
  • Kenny Wong as Uncle Tiger (Tiger叔)[5]
  • Philip Ng as Wong Gau (王九): Mr. Big's right-hand man.[1] Cheang modified the settings of Wong in the comics from a martial artist in Qing Dynasty attire with the ability to conjure a canopy aura to a modern hooligan with the power of Chinese spirit possession.[4]
  • Tony Wu as Twelfth Master (十二少): a katana-wielding member of Tornado's outlaw gang who later becomes a companion to Chan.[2][6]
  • German Cheung as AV (四仔): a kickboxer in Tornado's outlaw gang who later becomes a companion to Chan.[2][6] Cheang revised AV's backstory and replaced his iconic face-mask in the comic with a medical gauze mask.[4]

Cast

[edit]
Cast Episode 1 Episode 2 Episode 3 Episode 4 Episode 5 Episode 6 Episode 7 Ref.
Sylvia Chang Wu Yuenu Wu Yuenu Wu Yuenu Wu Yuenu Wu Yuenu Wu Yuenu Wu Yuenu
Lee Kang-sheng Tang Niansheng Yong Tang Niansheng
Michael Huang Guo Boxiang Guo Boxiang
David Wu Guo Liren [7]
Tracy Chou Guo Xinyi Yunxin Madame Hong [7][8][9]
Kenny Yen Guo Qichao [7]
Eleven Yao Xiaosu Limin Police officer Zian Zian
Duan Chun-hao Wang Changsheng Police officer Police officer Hao Duan
Hsueh Shih-ling Mourning Hall Mysterious Extra Yunlong Yunlong [10][11]
Nikki Hsieh Red Light District Extra Sijie /Sichun Wu Yuenu Wu Yuenu [10][12][13]
Jason King Baoqiang Duan's father [7]
Garfield Chung Wenjian [7]
JC Lin Guan [7]
Tony Yang Liu Changkun Liu Changkun
Bai Run-yin Lun Lun [14]
Buffy Chen Wen Wen [15]
Aileen Tan Yu [16]
Romeo Tan Alun [16]
Ryan Tang Ping [7]
Sean Huang Ayuan / Axiang Axiang
Rima Zeidan Detective Police officer [12]
Heaven Hai Ping's wife [17]

Cast

[edit]

Main

[edit]
  • Ling Man-lung as Yip Nim-shun, a software engineer and founder of PayPayDuck
  • Hanna Chan as Mung Ling, a designer posing as a software engineer at PayPayDuck
  • Lokman Yeung as Tony, an inventor at BornHub and author of The Theory of Big Channel. The character is based on Chan Yik Hei.
  • Kaki Sham as Kenneth, the founder of BornHub, a university lecturer, and a former entrepreneur notorious for several unrealized projects
  • Peter Chan as Billy, Yip's friend and a hacker who reluctantly joins PayPayDuck
  • Yoshi Yu [zh] as Billie, a feminist programmer working for PayPayDuck and the founder of SheIT
  • Frankie Chan as Never, a "pessimistic" former game designer working for Tony
  • Kearen Pang (season 1) as Cathy Ho, the Asia-Pacific director of Moby Ventures
  • Stanley Yau (season 2, recurring season 1) as Marcus, an MIT graduate and software engineer who competes with PayPayDuck in Moby Ventures' case competition

Recurring

[edit]

Guest

[edit]
  • Siuyea Lo as Tommy Sir, a con-artist posing as a mentor at the Rich Third Generation Guidance Association[22]
  • Thomas Lam [zh] as Hoi-hoi's father, a wealthy businessman[23]
  • Sabrina Cheung [zh] as Kiu Tsz-lam, Jayden's friend and fellow intern at PayPayEgg[24]
  • Samson Yeung [zh] as Kiu Shan-ho, Tsz-lam's father and the owner of a wedding company[25]
  • Kenneth Cheung as Smiley Lock salesman[26]
  • Elva Ni as Charlotte, an environmentalist social media influencer and the first client of PayPayDuck[27]

Also featuring cameo appearances by film director Chan Kin-long [zh] as Hung Hom Crazy Bill, an influential figure in the funeral business;[28] YouTuber Rik Ching as Hau, a dissatisfied PayPayDuck user;[29] and former Financial Secretary of Hong Kong John Tsang as himself.[30][31] Stephen Fung is featured on the posters displayed at BornHub.[32] Fung expressed interest in joining the series on Instagram after it aired.[33] Leung Chung Hang will appear in a main role in the second season.

Viewership

[edit]

In Geek We Trust recorded an average viewership of 4.1% in its first week, attracting approximately 260,000 viewers,[34] a figure considered "quite good" by HK01 and significantly higher than the 2.2% of the previous series Trinity of Shadow.[35] The show reached 4.6% by the second week,[36] and maintained that figure in its third week.[37] It climbed to 4.8% in the final week, with around 310,000 viewers,[38] making it ViuTV's highest-rated prime time series.[39][40] am730 attributed the viewership success to the series' ability to ignite discussions on the internet.[41]

Critical response

[edit]

In Yau Tai-tung [zh]'s reviews for am730 [42] [43]

Francis Fong [zh], also reviewing for am730[44]

Ho Tak of Harper's Bazaar[45]

Allen Cheng of HK01[46]

Ringo Fung of Sing Tao Daily[47]

Shum Lok-kei, writing for Initium Media[48]

Awards and nominations

[edit]
Year Award Category Nominee Result Ref.
2022 4th Asia Contents Awards Best Supporting Actor Kaki Sham Nominated [49]
Rising Star of the Year Ling Man-lung Won [50]
2023 7th Audience Choice Television Awards [zh] Best Television Series — Nominated [51]
Best Screenplay — Nominated
Best Actress Hanna Chan Nominated
Best Supporting Actress Yoshi Yu [zh] Nominated
Kearen Pang Nominated
Elegies
Traditional Chinese詩
JyutpingSi1
Directed byAnn Hui
Produced byKen Hui
CinematographyMike Mak
Edited bySalt & Vinegar
Music byOlivier Cong
Production
company
Pica Pica Media
Distributed byGolden Scene
Release dates
  • 30 March 2023 (2023-03-30) (HKIFF)
  • 23 November 2023 (2023-11-23) (Hong Kong)
Running time
101 minutes
CountryHong Kong
LanguagesCantonese
Mandarin[52]

Elegies (Chinese: 詩)

The film had its world premiere on 30 March 2023 as the opening film of the 47th Hong Kong International Film Festival, followed by a theatrical release in Hong Kong on 23 November. It received a nomination for Best Documentary Feature in the 60th Golden Horse Awards and garnered positive reviews from critics, who praised its subject matter, tone, and narrative approach.

Synopsis

[edit]

The documentary is divided into three parts: The first part includes interviews with Wai Yuen, Yam Gong, Deng Ah-lam, and York Ma, along with archival footage of the late Xi Xi and Leung Ping-kwan; the second part includes an interview with Huang Canran [zh], who migrated to Shenzhen to write poetry in seclusion; while the third part includes an interview with Liu Wai-tong [zh], who moved to Taiwan for a teaching position and started a family.[53]

In the first part, Wai Yuen defined the essence of poetry, stating that any subject, even mundane ones, can inspire poetic expression, while highlighting the unique and tangible qualities of local Hong Kong poetry amid the dominance of modernism in Taiwan and mainland China.[54] Yam Gong suggested that the unpredictability of poetry reflects the poet's deeper thoughts about the current social state of Hong Kong.[54] Xi Xi noted that, although she was not born in Hong Kong, she identifies local Hong Kong poetry with themes of everyday life and nostalgia, citing recurring imageries such as "Kai Tak Airport" and "lemon tea" as examples that evoke these characteristics.[54] Leung Ping-kwan discussed the connections between contemporary Western poetries and the literary scenes in Taiwan and mainland China, including interactions with the Misty Poets.[54] Deng Ah-lam examined the difference between concrete and abstract words in Cantonese, emphasizing the importance of using native language in poetry, which reflects his intuitive approach as a poet.[54] York Ma, known for writing topographical poetry, views poems primarily as a means to express his ideals, often using landscape imagery to convey deeper themes such as political views.[55][56] Ann Hui also reminisced about the late Xi Xi and Leung Ping-kwan.[57]

In the second part, the film showcased poet Huang Canran's life in Dongbei Village, Shenzhen, where he migrated due to the high cost of living in Hong Kong, describing himself as an "economic exile".[58][55][a] He discussed the essence of being a poet with Ann Hui, emphasizing the importance of poetry over commercial success and valuing the creative process itself, which inspired him to adopt a modest lifestyle.[58][55] Despite facing depression in his early years, he found freedom in his writing, prioritizing artistic integrity over publication.[58] His profound perspective saw poetry as an essential pursuit that transcended monetary worth, which he articulated through his works, including the poem "In the Teahouse".[58]

In the third part, Hui visited Liu in Taiwan, who migrated in 2018.[59] In contrast to Huang, Liu led a multifaceted life, balancing roles in literature, music, social activism, and university teaching, while embodying a more conventional lifestyle with a stable family.[58][55] The film featured some of his lectures, where he shared his views on the works of Paul Celan and Bertolt Brecht, and presented records of his past involvement in social movements, such as the Preservation campaign for Queen's Pier.[58][55] The film traced his meetings with other Hong Kong poets who moved to Taiwan, including Chan Wai [zh] and Huang Run-yu.[58] Huang Run-yu discussed the functions of poetry,[60][61] citing her experiences of writing letters to friends imprisoned 2019–2020 Hong Kong protests as an example.[58] The film concluded with Ann Hui's monologue about her motivation for creating the documentary, and expressed how poetry provided solace and resonance through words.[58]

Production

[edit]

Background

[edit]
Director Ann Hui

Filmmaker Ann Hui was introduced to poetry as a child, where her grandfather taught her the works of Li Bai.[56][b] She continued to enjoy reading and developed a fondness for poetry during her secondary school years, particularly the 18th and 19th centuries poets like John Keats, and members of the Crescent Moon Society like Xu Zhimo and Bing Xin.[56] She described poetry as "her protective talisman" that accompanied her through her youth.[63] Hui then studied literature at the University of Hong Kong, majoring in poetry.[63][64] She graduated with first class honors for her bachelor's degree and earned a master's degree in comparative literature.[62][64] Her master's thesis originally focused on American poet Ezra Pound and his translations of Chinese poems, but during her studies, she developed an interest in film, prompting her to switch her research topic to French filmmaker Alain Robbe-Grillet.[63] She continued her film studies in the United Kingdom and began her filmmaking career at TVB in 1975.[62][63] Around 1976, after completing the anthology series Below the Lion Rock, Hui intended to pursue two passion projects: one was an adaptation of Eileen Chang's novella Love in a Fallen City (1943), and the other a documentary about classical Chinese poetry.[65][66] She decided to prioritize the novel adaptation and completed the film Love in a Fallen City (1984).[66] However, despite her enthusiasm, she did not pursue her poetry documentary for several decades due to challenges in presenting it on screen, a lack of audience interest that made securing funding difficult, and a scarcity of time and interested fellow filmmakers to collaborate on the project.[56][64] Hui was also interested in making documentaries throughout her filmmaking career but had limited opportunities, aside from creating a 45-minute piece titled Three Women (1992) for RTHK and co-producing a Handover-themed documentary As Time Goes By (1997) with Peggy Chiao.[67] She cited the presence of many talented individuals in documentary filmmaking and her unfamiliarity with the equipment needed for filming and editing as reasons for her minimal involvement.[67]

Conception

[edit]

During the COVID-19 pandemic, numerous filming projects were postponed or scrapped, prompting Ann Hui to explore alternative approaches to filmmaking, which she found to be more flexible in the realm of documentary.[67] She came across the poem "Woman in Love" by Huang Canran [zh], which she found rich in imagery and dramatic quality, and inspired her to revisit her long-overdue poetry project.[56][68] She selected Huang Canran and Liu Wai-tong [zh] as the main features of the film due to her appreciation for their poetry.[69] Hui was acquainted with Liu Wai-tong as a photographer prior to the shoot, having first met him in June 2007 when Liu was interviewing a group of cultural figures from Hong Kong.[69] Although Hui did not know Huang personally before the shoot, she deemed him suitable for the film because his poetry often presents insights into time and dimension, which she found it rich in poetic qualities and cinematic qualities.[70] She did not view their non-local backgrounds as a hindrance, believing that personal history is not a crucial factor in determining whether someone is a Hongkonger and finding that culture often involves a mix of multiple influences.[69] Initially, she intended to interview just the two of them, but realized that focusing solely on them would lack context and relational depth, as their recognition alone was insufficient, which prompted her to interview several older and established poets, including Wai Yuen, Yam Gong, Deng Ah-lam, and York Ma.[70] She was introduced to Wai Yuen and Yam Gong through acquaintances who praised their poetry, and she found a striking contrast between the modernity expressed in their work and their ages, which range from 70 to 80.[69]

Poet Liu Wai-tong [zh], a major interviewee in the film

In mid-2020, Hui wrote an outline to the Hong Kong Arts Development Council to apply for funding but was unsuccessful.[69] She then sought funding from various art foundations and ultimately approached Ken Hui, the owner of PicaPica Media, to co-create the project.[69] Hui described this outcome as "more pleasing", expressing concerns about censorship if they received funding from the Art Development Council, but sourcing funds from private foundations has no requirements on the content.[69] Both Ann and Ken Hui did not receive any compensation for the project.[69] Hui began advancing the project in late 2020, starting her research and reading works by different poets.[67] She also required the entire crew to familiarize themselves with the poems of Huang and Liu.[60] For each interviewee, she would select 20 of their poems, choose 10 to feature, and then narrow it down to six or eight for the final cut, discussing which ones to cut with the poets during the interviews.[59] Hui used Elegies as the working title for the project, inspired by a suite of poems of the same name written by Huang Canran in the 1990s, which she found touching while reading during the film's pre-production.[69][71][c] It ultimately became the English name of the film.[69] However, the literal translation of "elegies" in Chinese, "哀歌", means "the song of misery", which Hui found inauspicious, so she chose to name it "詩" (poems) in Chinese instead.[69][71]

Filming

[edit]

Principal photography began in March 2021,[67] with a crew of just five people.[56] Hui found that larger filming crews often have overly specialized roles and shift responsibilities onto one another, resulting in inefficiency, prompting her to choose a small crew for Elegies to allow for greater flexibility.[56] Hui briefed Huang and Liu about their filming plan and interview direction prior to the shoot, to respect their privacy and avoid discussing topics that the interviewees prefer not to address.[59] She would draft a list of questions before interviews but allowed the discussions to flow freely once filming began.[60] For instance, the parts where Liu read his own poems were not scripted and were improvised by him.[60] Hui interviewed Huang at Dongbei Village, Shenzhen, where he resided.[58][72] In her original concept, she intended to adapt several poems into dramatic scenes and invite the poets to narrate them during intervals of their interviews.[56] The crew hired actors to film Huang's "In the Teahouse" to visualize the hopeless man depicted in the poem.[60] During Huang's interview, Hui also wanted to adapt his poem "Woman In Love" and asked him to play the male protagonist alongside an actress.[60][68] Huang initially declined, feeling "too different" from the character,[60][69] and although Hui insisted, his performance was described by her as "awful", leading to the scene being cut.[69][68] Hui ultimately scrapped the entire idea of visualizing the poems, explaining that the illustrations provided by the scenes did not enhance the poems themselves.[69] Huang's girlfriend, daughter, and sister were also interviewed, with Huang introducing his girlfriend to the crew and the team visiting his sister after returning to Hong Kong to discuss their family's experiences moving from Fujian to Hong Kong during their youth.[59] While discussing young poets, Huang recommended five to Hui, and she found the work of one poet, Huang Run-yu, particularly moving.[69] She approached her for an interview, which was briefly featured in the film.[69][73]

Parts of Liu Wai-tong's interview were filmed on the campus of the Taipei National University of the Arts.

In May 2021, the crew continued filming in Taiwan during the peak of the COVID-19 pandemic.[60] The producer initially considered canceling the shoot due to safety concerns after Hui arrived and completed her quarantine, but Hui insisted on proceeding since she was already on location.[59] She conducted the interview with Liu in Taipei,[69] including filming at the Taipei National University of the Arts where Liu was a lecturer.[56][59] Due to the pandemic, Liu had suspended all his daily activities and spent most of his time at home with his family, conducting university lectures via Zoom.[60] The crew also avoided many filming opportunities around Liu to prevent the risk of transmitting the virus to his children.[60] Hui described her crew as "disappointed" by the lack of footage, but she viewed it as a "metaphor" for Liu's otherwise ordinary life, which the pandemic had naturally magnified, making it "unique" to him.[60] Hui also interviewed two poets, Jacky Yuen and Hong Wai, who argued during the interview.[69] However, Hui decided not to include it in the film to avoid adding another subplot and diversifying the narrative, suggesting that this footage might be developed into a sequel.[69] Filming also took place in Hong Kong,[69] and wrapped up in September 2021.[67]

Post-production

[edit]

Editing spanned about four to five months.[69] Since Ann Hui had never been involved in any post-production process in her career, she only vaguely described her expectations to the editor and allowed him to work independently.[69] She was pleased with the product presented by the editor, and only minimal changes were made.[69] She described the film's editing as "akin to poetry", noting that she felt the structural tone could be "lyrical" and she wanted to balance the pace by putting some space in between scenes.[71] She let Huang and Liu watch the rough cut to identify any parts they found inappropriate for cutting.[59] Veteran film editor William Chang, who the crew initially consulted for opinions on the rough cut, grew fond of the film and offered to help with color grading.[69] The film also features a score by Oliver Cong.[74] Hui noted that Cong identified a structural flaw in the transition between the first and second parts, which was too fragmented, and suggested reusing the same music throughout the film to create continuity.[69]

Themes and styles

[edit]

Sek Kei[75]

Film critic Matthew Cheng [zh][76]

Scholar Gloria Tsui [zh][77]

Liu Wai-tong [zh][78]

Huang Canran [zh]

[79]

Critics have also drawn comparisons between the film and Jia Zhangke's Swimming Out Till the Sea Turns Blue (2020).[80][81]

Release

[edit]

Elegies had its world premiere as the opening film of the 47th Hong Kong International Film Festival on 30 March 2023 alongside Soi Cheang's Mad Fate (2023),[82] followed by screenings in the Icons section of the 28th Busan International Film Festival and at the 2023 Golden Horse Film Festival.[83][84] Worldwide distribution rights were acquired by Golden Scene [zh] in September 2023.[83] It was theatrically released in Hong Kong on 23 November 2023,[85] and was subsequently screened at the 53rd International Film Festival Rotterdam, marking its European premiere,[86] as well as in the A-Listers section of the 7th Malaysia International Film Festival.[87] The film also received a theatrical release in Taiwan on 22 March 2024.[88]

Reception

[edit]

Elegies's critical reception was positive.[89] As of January 2024, the film held a rating of 8.0/10 on the Chinese media review platform Douban.[90]

Edmund Lee of the South China Morning Post gave Elegies 3.5/5 stars, calling it "an opaque and borderline esoteric introduction" to Hong Kong poetry, where the "personal and highly technical" interviews with Huang Canran and Liu Wai-tong provided insights into their struggles and reflections on the changes in the city, all of which he attributed to Ann Hui's "professional pedigree and charisma", enabling the artistic passion project to secure a commercial release.[52] Lee also ranked the film 13th out of the 37 Hong Kong films theatrically released in 2023.[91] Wendy Ide at Screen International praised the film as "a niche proposition" crafted with "a great deal of love", offering an intimate and well-crafted exploration of Hong Kong's contemporary poetry scene, although she noted the "little acknowledgment of the realities of artistic freedom in contemporary Hong Kong", particularly regarding the intriguing choice of interviewees, Huang and Liu, who are neither residing in the city, a detail she found "tactfully" omitted from this "warm, but slightly meandering saunter" through the lives of Hong Kong poets.[92]

Funscreen Weekly's Tara Huang focused her review on the film's subject matter, describing the filmmaking approach as "simplistic", while acknowledging that the themes are anything but, as it delves into the diminishing creative freedom of Hong Kong and the expansion of the diaspora, presenting a deeply intimate and meaningful documentary that "perfectly combines text, sound, and imagery", serving as both a personal reflection for the filmmaker and a poignant commentary on the city's political and cultural landscape amidst turmoil.[61] Sean Gilman shared a similar perspective in his InReview article, describing the film as "a lament for a lost Hong Kong" that poignantly reflects the cultural loss and exile experienced after the 2019–2020 protests, mourning the city's unique role as a nexus between China and the wider world through an exploration of literary traditions while emphasizing Hui's fears that Hong Kong's cultural momentum will be lost.[93] Kitty Ip [zh], reviewing for Sky Post, provided a different perspective on the film's subject matter, highlighting its poignant exploration of contemporary poets during the COVID-19 pandemic and the challenges they face due to rising living costs, but also commending Ann Hui for her dedication to the project.[94]

Wen Tien-hsiang [zh], writing for Mirror Media, rated the film 90/100, calling it "the most sincere tale of Hong Kong" and appreciating how the documentary intertwines personal stories with broader cultural and political themes, capturing the essence of poetry and life in Hong Kong through well-structured interviews and footage that visualizes the conversations and poetic imaginations.[95] Jan Wong also remarked the film as "heartfelt" in his review for Sing Tao Daily, lauding its intimate portrayal of contemporary poets and their lives, along with Ann Hui's personal connection to the subject, which adds warmth and depth to the documentary, creating a rewarding experience for audiences.[96] Eric Tsang of the Hong Kong Film Critics Society offered a rather negative review, criticizing the film for focusing more on the daily lives of poets rather than their creative insights. He argued that this approach fails to enhance viewers' understanding of contemporary poetry and highlighted issues with the film's casual cinematography and editing, as well as its lack of comprehensive coverage of notable poets.[76]

Awards and nominations

[edit]
Year Award Category Nominee Result Ref.
2023 60th Golden Horse Awards Best Documentary Feature — Nominated [97]
2024 30th Hong Kong Film Critics Society Awards Film of Merit — Won [98]

Notes

[edit]
  1. ^ Huang migrated to Dongbei Village in June 2014.[54]
  2. ^ There are conflicting reports regarding the age at which Ann Hui was introduced to poetry by her grandfather, with The Reporter stating she was three years old,[56] while CommonWealth Magazine stating it was five.[62]
  3. ^ "Elegies #7," the seventh piece in the Elegies suite, was featured in the film and narrated by Huang Canran himself.[71]

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  89. ^ Multiple sources:
    • 陳穎 (24 November 2023). "金馬60／76歲許鞍華搶大獎鬥蔡明亮！資歷是負擔「還活著最開心」". SET News (in Chinese). Retrieved 17 February 2025. 許鞍華的紀錄片《詩》受到好評。 [Ann Hui's documentary Elegies has received positive reviews.]
    • "《詩》許鞍華書寫香港詩人的生命風景". United Daily News (in Chinese). 18 March 2024. Retrieved 18 February 2025. 甫結束今年柏林影展評審工作的許鞍華導演，帶著最新作品－紀錄片《詩》榮獲第47屆香港國際電影節開幕電影、第60屆金馬獎最佳紀錄片提名、第30屆香港電影評論學會大獎年度推薦電影。被Screen International評為「一部充滿愛的電影」、以及Beijing Times讚嘆全片充滿「對香港這座城市及其文學靈魂的衷心致敬」。 [Director Ann Hui, who recently completed her jury work at this year's Berlin International Film Festival, brings her latest work, the documentary Elegies, which has been announced as the opening film of the 47th Hong Kong International Film Festival, nominated for Best Documentary in the 60th Golden Horse Awards, and named Film of Merit in the 30th Hong Kong Film Critics Society Awards. Screen International describes it as "a film made with a great deal of love", while Beijing Times praises the entire film as "a heartfelt tribute to the city of Hong Kong and its literary spirit".]
    • "Hong Kong at BIFF". China Daily. 13 October 2023. Retrieved 17 February 2025. Elegies — one of the opening films of this year's the Hong Kong International Film Festival — was warmly received by audiences most likely unfamiliar with or even aware of the city's poetry scene.
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