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Hong Kong Arts Centre, Nov 11-Dec 2, 2001

 

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Hong Kong: Angst and Eros -- The films of Evans Chan

 

 

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Some Words about Hong Kong: Angst and Eros -- The Films of Evans Chan

 

 

Between To Liv(e) (1991) and The Map of Sex and Love (2001), a decade has fallen --  a decade of Angst, anxiety and apprehension, with Hong Kong facing its uncertain prospect of decolonization.  However, Angst can also be inflicted by the weight of the world.  In To Liv(e), Rubie struggles with Hong Kong's uninvited responsibility for the Vietnamese refugees; in Crossings (1994),  Rubie tries to cope with the social and emotional casualties in an overseas Chinese community; in The Map of Sex and Love, Wei Ming reasseses his life's journey in light of Macau's secret past.

 

My three feature films are all about Angst and, yes, Eros, probably the most potent motivational force in human lives. If Eros seems to promise bliss, in a secret way, it may be allied with Angst; otherwise W.H. Auden wouldn't have observed: "Sad is Eros, builder of cities." Teresa and Tony (To Liv(e)), Moyung and Benny (Crossings), and Larry and Mimi (The Map of Sex and Love) flee for Eros or in desperate search of it. Angst appears at the end of the road when, disowned by Eros, one becomes a void, an unbearable void to oneself.

 

Angst and Eros, for better or worse, is also the condition of independent filmmaking in this so-called Hollywood of the East. For the mere fact that these films have been made, I have to thank Willy Tsao's generous backing. It is heartwarming that the director's cut of Crossings, thanks to the Hong Kong Arts Centre's support, finally has a chance to receive its Hong Kong première.

--- Evans Chan, Oct 2001

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The Map of Sex and Love

­»´ä/¬ü°ê Hong Kong/USA      2001      ±m¦â Col        35mm  130mins

¸f»y¤Î­^»y¹ï¥Õ¡A¤¤¡B­^¤å¦r¹õ In Cantonese & English with Chinese & English subtitles

½s/¾É Scr/Dir: ³¯Ä£¦¨ Evans Chan

Äá¼v Photo: ¬_¬P¨K O Sing-pui

°t¼Ö Mus: Milos Raickovich, Peter Suart

ºt­û Cast: ©P¤å²N Bernardo Chow, ¦ó¯\À[ Cherie Ho, °¨¤~©M Victor Ma

 

Áp¦Xµo¦æDistributed by:

 Hong Kong Arts Centre (Logo) & Ying E Chi (logo)

 

 

 

 

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--- Tony Rayns ¡mSight & Sound¡n

 

 

 

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¡Ka rare film from Hong Kong, wise and profound.

-- The 25th HKIFF Festival

 

 

Evans Chan¡¦s most distinctive and remarkable film to date, stylistically harking back to To Liv(e), his debut feature -- full of colourful details and inspired touches.

 -- Sek Kei, Ming Pao Daily News, 23/3/01

 

 

[The Map] negotiates the spaces between desire and inhibition, between the body and the always troublesome mind, between cruising and map-making.

 -- Tony Rayns, Sight & Sound

 

Hailed as ¡§a rare film from Hong Kong, wise and profound¡¨ by the 2001 Hong Kong International Film Festival, The Map of Sex and Love explores history past and present, and love gay and straight through three interrelated stories - ¡§Rubber Band,¡¨ ¡§Belgrade,¡¨ and ¡§Nazi Gold.¡¨ In ¡§Rubber Band,¡¨ a gay dancer is advised to heal his perversity by snapping a rubber band against his wrist. In ¡§Belgrade,¡¨ a girl has a traumatic revelation while travelling in Eastern Europe; and in ¡§Nazi Gold,¡¨ a filmmaker has an eerie encounter with an aftermath of the Third Reich in Macau. A tongue-in-cheek look at Hong Kong¡¦s Disney as well as a homage to Le Scaphandre et le Papillon (The Diving Bell and the Butterfly) by the late Jean-Dominique Bauby, Evans Chan¡¦s film maps the secrets of history and the human heart with a true cartographer¡¦s eyes. Bernardo Chow, Cherie Ho, and Victor Ma give riveting performances. 

 

10/11   Sat   5:00pm   LFT
11/11   Sun  2:30pm   LFT
 1/12    Sat   5:00pm   LFT
 2/12    Sun  5:00pm   LFT

 

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To Liv(e)

­»´ä Hong Kong 1991 ±m¦â Col     35mm  108mins

¸f»y¤Î­^»y¹ï¥Õ¡A¤¤¡B­^¤å¦r¹õ In Cantonese & English with Chinese & English subtitles

½s/¾É Scr/Dir: ³¯Ä£¦¨ Evans Chan

Äá¼v Photo: ¤ý¬±¶¯ Wong Bing-hung  

ºt­û Cast: ³¯¥O´¼ Lindzay Chan, ¶ÀÄ£©ú Anthony Wong, ÅU¬üµØ Josephine Koo

 

³¯Ä£¦¨ªº­º³¡ªø¤ù¡A³ôºÙ¤E¤Q¦~¥N­»´ä¹q¼vªº²§Ãþºë«~¡C¹q¼v¥D­n¥H¨â¤j±¡¸`±a°Ê¡A¤@¬O¤k¥D¨¤Rubie¡]³¯¥O´¼¹¢ºt¡^¤£º¡¼Ú¬w¤k¬P/¾ÉºtÄRªÜ¡E¯Q°Ò°w¹ï­»´ä¬F©²±j¦æ»ºªð¶V«n²î¥Áªº¤ù­±§åµû¡A©ó¬O¦V¯Q°Ò§ë¥H¤@«Ê«Ê«H¥ó§@¬°µªÅG¡F¤G¬ORubieªº§Ì§ÌTony¡]¶ÀÄ£©ú¹¢ºt¡^»P¸û¥L¦~ªø¤k¤ÍTeresa¡]ÅU¬üµØ¹¢ºt¡^¦³·P·R±¡Ãø®e¦¹¦a¡A´_¤S³´©ó²¾¥Á¥L¤è¯à§_±a¨Ó§Ö¼Öªº¼~·T¡C¦Ó¦b«Hºà»P­WÅʶ¡¡A³¯Ä£¦¨­Ý®eÀ¸¼@¡B¬ö¿ý¡B±Ô¨Æ¤Îij½×ªº¤âªk¡A§e²{¤F­»´ä¨D¦s©óªF¦è¤èªº¾ú¥v©R¹B¡AÅý¦UÃþ«°¤¤¤H¶É¶D¤F¼~¼{»P¤Û·Q¡A±¡²z¬v·¸¦a±ýÃÒ³o¡u­É¨ÓªºªÅ¶¡¡B­É¨Óªº®É¶¡¡v¨Ã¤£¡u½§²L¡B°Q¹½¡v¡A¨ä¹ê¥i²±¸üºØºØ®ø«Ú°¾¨£¡B¨«¦V¥¼¨ÓªºÄ@±æ¡C¹j¤F¤Q¦~¦^ÅU¡A¨ÌµM¬O¨u¦³ªº¤@³¡¥Hª¾ÃÑ¥÷¤l¨¤«×Á\­z¨ä­»´ä±¡Ãh¡B¨Ã¤jÁx¹ê½î±Ô¨Æ¤èªkªº¹q¼v¡C

 

*¥xÆW²Ä¤Ü¤E©¡ª÷°¨¼ú¡]1992¡^³Ì¨Î¤k¥D¨¤¤Î³Ì¨Î¤k°t¨¤¼ú

*¸²µå¤ú®öº©¥D¸q¹q¼v¸`¡]1991¡^³Ì¨Î¤k¥D¨¤¼ú

*·s¥[©Y¹q¼v¸`¡]1991¡^¯S§Oµû¼f¤j¼ú

 

 

In 1990, Norwegian actress Liv Ullmann visited Hong Kong, which was still reeling from the Tiananman crackdown that took place a few months ago, and denounced the British colonial government¡¦s deportation of 51 Vietnamese refugees. In this impressive debut feature, critic-turned-filmmaker Evans Chan focuses on a Hong Kong woman's mixed response to Ullmann's accusations. As Rubie (Lindzay Chan) writes a series of letters to Ullmann, comptemplating life and love, politics and arts, the important elements of her own life also unfold - her changing relationships with her lover, family, and native city. The film reflects a yearning for an understanding and reconciliation, between Ullmann and Hong Kong, between America and Vietnam, between Hong Kong and China, between East and West. While emotionally engaging, To Liv(e) is an experimental, conceptual film - a rare and unique creation among the overwhelmingly commercial milieu of Hong Kong Cinema. 

 

 

*Best Actress & Best Supporting Actress Awards, The 29th Golden Horse Awards, Taiwan 1992

*Best Actress Award, Portugal Sintra Festival 1991

*Special Jury Prize, Singapore Film Festival 1991

 

25/11   Sun  2:00pm   LFT

 

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Crossings (Director's Cut -- Hong Kong Première)

­»´ä Hong Kong 1994 ±m¦â Col     35mm      104mins

¸f»y¤Î­^»y¹ï¥Õ¡A¤¤¡B­^¤å¦r¹õ In Cantonese & English with Chinese & English subtitles

¾Éºt Dir: ³¯Ä£¦¨ Evans Chan

½s¼@ Scr: ³¯Ä£¦¨ Evans Chan, ³¯Ãý¤å Joyce Chan Wan-man

Äá¼v Photo: Jamie Silverstein

°t¼Ö Mus: ÅǧӦ¨ Kung Chi-shing

¬ü³N«ü¾É Art Dir: ±i¨û¥­ William Chang, Deana Sidney

ºt­û Cast: °Kµú»ö Anita Yuen, ¥ô¹FµØ Simon Yam, ³¯¥O´¼ Lindzay Chan, Ted Brunetti

 

¡m¯B¥@Åʦ±¡nªº¨¤¦âªÈÄñ©óÀ³§_Â÷¶}­»´ä¡A³Ì«áÁÙ¬O¥Î·Rªº¯¬Ä@§@µ²¡F¨ì¡m¿ù·R¡n¡AÀ¸¤¤¤H¦­¤w¬°¤F³o­Ó¡B¨º­Ó½t¥Ñ»·¨«®ü¥~¡A¶}©lÄƬy¡C³¯Ä£¦¨ªº²Ä¤G³¡¹q¼v§@«~±N¬G¨Æªº¥D­n³õ´º·h¨ì¯Ã¬ù¡A§Î¦¡¥ç«D¡m¯B¡n¤ùªº¹q¼v½×¤å¡A¦Ó¬O¹B¥Î¤F·R±¡¡B¥Ç¸o¡BµØ¤H²¾¥Áµ¥Ãþ«¬¹q¼vªº¤¸¯À¡A¤S¥H·í¬õªº©ú¬Pºt­û¾á·í¥D¨¤¡A¤£¹L¹q¼vªº©RÃD©l²×¬O­»´ä¤Hªº¨­¥÷©M¦s¦bª¬ºA¡]¥i¬O¹ï¤K¡B¤E¤Q¦~¥N²¾¥Á¼é¬yªº¤@­Ó¤Ï¬Ù¡H¡^¡AÆ[ÂI³£®i²{¦bBenny¡B¼}®e°û¡BRubie¤T¤H¤`©R¡B¿ù·R¤ÎµL©`ªºÀ¸¼@¤Æ¸gýf¤W¡A¦ÓªF¦è¤èªº»~¸Ñ§ó¬OºtÅܬ°¤@©v¤£¥i²z³ëªº§N¦å±þ¤H¨Æ¥ó¡C¤ù¥½ªº¯Ã¬ù¦aÅK¤ë¥x´¡µÛ±¥¤`ªº²M­»¡A³¯Ä£¦¨¬°«e§@ªº¼ÖÆ[µ²§½¼¶¼g¤F¤@­Ó´d·¡ªºÄò½g¡C

¹q¼v³B²z¼}®e°ûªì©è¯Ã¬ùªº°g¯í»P¦^¾Ð­»´ä©¹¨Æªº¤âªk¤×¨ä¥X¦â¡A®ÉªÅÂà´«¦ÛµM¡A°Å¿è¥X¤@ªÑ°gÂ÷ªº®ðª^¡F¦ÓÅǧӦ¨ªº°t¼Ö¤Î²³ºt­ûªººt¥X¤@¼Ë¤Þ¤Hª`¥Ø¡CÃÀ³N¤¤¤ß¦¹¦¸¯S§O©ñ¬M°ê»Úª©¡A¾÷·|Ãø³{¡C

 

In To Liv(e), Evans Chan¡¦s characters agonize over the issue of emigration, and they exit with the blessing of love. In Crossings, his second feature, the characters, for various reasons, are already exiles in New York.  Chan has picked America for the setting, and love, crime and Chinese immigrants as the cinematic elements, resulting in a noirish drama that markedly departs from the essayistic To Liv(e). Despite the presence of some big stars of the mid-90¡¦s, Chan¡¦s concern remains the identity crisis and apprehension about the future that obsessed the people of Hong Kong (an introspection about the emigration waves of the 80s and 90s?).  The film¡¦s perspectives alternate between the misadventures of Benny, Moyung and Rubie.  Propelled by doomed love, misguided flights, and the psychological conflict between East and West, the film climaxes in a cold blooded murder. Crossings, with the closing scene of jock sticks on a New York subway platform, offers a doleful counterpoint to the somewhat optimistic To Liv(e), of which it is a sequel.

The movie is particularly touching in conveying Moyung¡¦s sense of loss in New York, fluidly blended with her Hong Kong flashbacks. Its atmospheric mis-en-scène, a moody score by Kung Chi-shing¡¦s, and committed performances from the principals all make Crossings a remarkably affecting film. Don¡¦t miss this Hong Kong première of the director¡¦s cut at the Arts Centre.

 

 

25/11   Sun  4:30pm   LFT*

 

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*¼v¤ù©ñ²¦«á³]¬ã°Q·|¡]¼sªF¸Ü¥DÁ¿¡^

A seminar on Chan¡¦s work (Conducted in Cantonese) will follow the screening of Crossings

¥D«ù Host: ¶¾¬üµØ May Fung¡]¿W¥ßÃÀ³N¤u§@ªÌIndependent Media Artist)

¹Å»«Á¿ªÌ Speakers: ³¯Ä£¦¨ Evans Chan¡]¾Éºt Dir¡^, ±i»ñÅï William Cheung¡]¼vµû¤H Critic¡^, ¥v¤åÂE Stephen Sze ¡]¼vµû¤H Critic¡^

 

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The first 50 ticket buyers for The Map of Sex and Love at Hong Kong Art Centre will receive a free limited-edition poster of the film.

 

 

¸`¥Ø¬d¸ß¼ö½u Programme Enquiry: 2824 5329, 2582 0200

 

 

»ïÁÂAcknowledgements:

¹O¬y»s§@ªÀ¦³­­¤½¥q(Riverdrive Productions Ltd.)¡B ¼v·N§Ó(Ying E Chi) ¡BÃÀ³Nµo®i§½(Hong Kong Arts Development Council)

 

 

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