In the past decade, Hong Kong has seen a growing number of first-time or emerging filmmakers. To help young filmmakers build a long-term sustainable career and to meet the needs of an increasingly diversified audience culture and film industry, the Hong Kong Arts Centre (HKAC) sees a pertinent need to assist filmmakers to expand their professional and personal horizons, enrich their crafts, network and get recognised on local and international levels. In 2019, coinciding with the 50th Anniversary of the Cannes Directors’ Fortnight, one of the world’s most prestigious and influential breeding grounds for accomplished filmmakers, the HKAC presents New Waves, New Shores: Cannes Directors’ Fortnight 50 Meets Hong Kong Cinema. Hong Kong-based film critic, journalist and curator, Clarence Tsui, is the HKAC’s guest curator of the film screening series and will conduct discussion panels and workshops under this programme.
- Show how a major festival such as the Directors’ Fortnight shapes different film cultures, markets and industries;
- Demonstrate how local and international film festivals help expand filmmakers’ visions and develop their careers;
- Highlight the important and decisive roles played by programmers/festival organisers, film critics and journalists in influencing film cultures and industries;
- Encourage intergenerational and international dialogues between veteran and young filmmakers, and different audiences – cultivate respect and appreciation for the past and futures;
- Give audiences the opportunity to appreciate and find links between Fortnight and Hong Kong films by curating a relatable, approachable and unprecedented screening programme – by pairing Fortnight and Hong Kong films; and
- Be a relaxing open space for all kinds of film conversations among different walks of life.
Pierre-Henri Deleau (Co-Founder of Cannes Directors’ Fortnight), Clarence Tsui (Hong Kong-based Film Critic, Journalist and Curator), Wen Tien-Hsiang (Taiwan Film Critic and Programmer, Chief Executive Officer of Taipei Golden Horse Executive Committee), Yov Moor (French Colourist and DI Producer, Jinpa, A Yellow Bird, Norwegian Wood, etc.), Teddy Robin (Hong Kong Producer, The Story of Woo Viet), Lau Shing-hon (Hong Kong Director, House of the Lute), Michael Mak (Hong Kong Director, Everlasting Love), Lai Miu-suet (Hong Kong Director, Glass Tears), Cheung King-wai (Hong Kong Director, Somewhere Beyond the Mist), Rachel Leung and Kyle Li (Hong Kong Actors, Somewhere Beyond the Mist), Frank Hui and Vicky Wong (Hong Kong Directors, Trivisa), Kongkee (Hong Kong Comics and Animation Artist, Winner of Gold Mention of DigiCon6 ASIA awarded by TBS Japan), Nose Chan (Programmer, Hong Kong Independent Film Festival), Didi Wu (Programmer, Broadway Cinemetheque and Hong Kong Asian Film Festival), Kiki Ho (Curator, Ground Up Student Film Festival) and more.
In May 1969, the first edition of the Quinzaine des Realisateurs - or the Directors' Fortnight in English - made its bow at Cannes, its mission being to provide a platform for "new voices, new cinemas" to receive the attention they deserve. Since then, independent festivals have emerged across the world with the same idea in mind - something even established A-list events have also tried to grapple with. As part of the New Waves, New Shores programme, the Fortnight's founding artistic director, Pierre-Henri Deleau, will engage in an inter-generational, cross-cultural conversation with Hong Kong programmers Nose Chan, Didi Wu and Kiki Ho, with the aim of finding common ground and brighter futures for both filmmakers and cinephiles here and elsewhere.
2:30pm – Screening | 4:45pm – Masterclass
After an innocent afternoon at the beach with boys from school, five orphan sisters living in a small Turkish village are punished by their grandmother and uncle. The more the sisters rebel against their conservative relatives, the tighter the screws get as virginity tests are applied, steel bars are installed and marriages are arranged. Mustang is colour-graded by Yov Moor. The film is an apt example of colour grading an art house film which is able to remain faithful to its creative intentions, and can communicate effectively to achieve popular success. It won the Label Europa Cinemas Prize at the Cannes Directors’ Fortnight and was nominated for Best Foreign Language Film at the Oscar and the Golden Globes.
Yov Moor, who has worked with both veteran and emerging directors, cinematographers and producers around the world on more than a hundred films of various genres including fiction and documentary films, will share his professional insight and experiences as a seasoned and well-travelled colourist. Recent films to his credit include Jinpa (directed by Pema Tseden, produced by Wong Kar-wai and Jacky Pang; nominated for Best Director at the Taipei Golden Horse and Asian Film Awards), Present.Perfect. (directed by Zhu Shengze; won Tiger Award at Rotterdam International Film Festival), Dead Souls (dir. Wang Bing; nominated for Golden Eye at the Cannes Film Festival) and The Road to Mandalay (directed by Midi Z.; won Best Film at the International Film Critics Week of the Venice Film Festival). His other past collaborators include Luc Besson, João Pedro Rodrigues, Lee Ping-bin, Tsai Ming-liang, Tran Anh Hung and others.
Languages: Conducted in Cantonese and Mandarin (but is also open for English writers)(Details will be announced in due course. Stay tuned!)
Tickets will be available at URBTIX from 18 April.
Literally meaning "The Turning Wind", Brazilian filmmaker Glauber Rocha's directorial debut unfolds more like a storm than merely a breeze. Revolving around a young man's return from the city to his village and his attempt to ferment a revolution among local fishermen against both their mystic beliefs and their exploitative masters, Barravento blazed a trail by documenting Brazil's class-driven and racial schisms up close, with Rocha appropriating European neo-realism (Roberto Rossellini's Stromboli being a key influence) to deliver sweeping vistas of Brazil's rural backwaters and its myriad contradictions and crisis. Made when Rocha was just 20, Barravento is now known as the film that kick-started Brazil's fiery, socially-conscious Cinema Novo movement.
The Story of Woo Viet
Before and after: Having already attained a reputation among cinephiles for his early work (his award-winning 1958 feature debut of Une simple histoire; the follow-up, The Eighth Day, starring Emmanuelle Riva), Summer's appearance at the Fortnight was to be Hanoun's apogee. He continued to produce films on 16mm, Super 8 and later video up until his death in 2012.
Before and after: Glass Tears received its international premiere at the Directors' Fortnight in 2001, and became the first Hong Kong filmmaker to screen her debut at Cannes. With a bigger budget, more well-known stars and a foreign setting, her follow-up, The Floating Landscape, was selected for the Venice Film Festival's official competition in 2003.
Before and after: Binding Sentiments provided Mészaros with a deserved international breakthrough, She won the Berlin Film Festival's top prize in 1975 with Adoption, before making her most well-known Diaries trilogy from 1984 to 1990. Now the elder stateswoman of Hungarian cinema, her entire oeuvre is now subject to restoration - this restored version of Binding Sentiments would have its world premiere in Hong Kong.
Before and after: A graduate from Columbia University and the London Film School, Lau was a relatively unknown quality in her hometown before being taken under veteran producer Nansun Shi's wings and making her bow at Cannes. Lau's latest film, Luz, is backed by French funds and stars Isabelle Huppert.
Before and after: Having left Poland for Paris in 1962, Lenica spent three and a half years working on Adam 2 with West German funds. While his reputation was enhanced by his appearance at the Directors' Fortnight, his filmmaking career slowed in the 1970s and 80s, when he reverted to graphic design as his main vocation until his death in Berlin in 2001.
Scenes from Under Childhood (Section One)
US | 1967 | 25 mins | No dialogue | Colour
Before and after: Brakhage would again feature in the Directors' Fortnight in 1970 with the second episode of Scenes from Under Childhood. While he never returned to Cannes afterwards, Brakhage's subsequent films also screened in Berlin's Forum programme in the 1970s and 80s (Sincerity, Murder Psalm, The Act of Seeing With One's Own Eyes).
What better for programmers to make a stand against the conservative establishment by showing a psychedelic film maudit boasting sex, drugs and rock'n'roll, laced with a bit of critique against consumerisms of the day? Unfolding within one LSD-fuelled night in the life of a disillusioned television commercial director (Peter Fonda), Roger Corman's counterculture cult film pays homage to, among other things, Che Guevara and Ingmar Bergman's The Seventh Seal (which the director actually helped distribute in the US). A wild race for the next high in strobe-lit bedrooms, on Los Angeles' dark streets, and across the Big Sur's dunes, The Trip epitomises the frenzy and paranoia of the tumultuous 1960s. Written by a very young Jack Nicholson and also starring Dennis Hopper - who actually premiered his Easy Rider the main competition in 1969 at Cannes - its inclusion in the Directors' Fortnight, is a harbinger of how popular culture could be appropriated and reinterpreted as auteurist art.
Hong Kong | 1984 | 97 mins | In Cantonese with Chinese and English subtitles | Colour
Before and after: Mak continued to direct a wide variety of mainstream genre films throughout the 1980s and 1990s, including installments to the Long Arm of the Law series, Sex and Zen before reuniting with Andy Lau on the Taiwan-set political thriller Island of Greed.
Sweden | 1968 | 106 mins | In Swedish with Chinese and English subtitles | B&W
Date & Time: 15/6/2019 (Sat) 4:00pm
Before and after: Duet for Cannibals is the first of two films Sontag made in Sweden: the second, Brother Karl, also screened at the Directors' Fortnight in 1971. She would eventually make a documentary about the Israel-Palestine conflict (Promised Lands, 1974) before directing her last fictional feature, the Venice-set relationship drama Unguided Tour, in 1983.
House of the Lute
Before and after: Lau would go on to direct two more genre films in the 1980s (The Head Hunter and Heroes Three) before turning his hand to academia, when he taught at the Hong Kong Baptist College (now University) and the Hong Kong Academy for Performing Arts. His last directorial effort was The Final Night of the Royal Hong Kong Police Force (1999).
Date & Time: 22/6/2019 (Sat) 3:30pm
Before and after: The reception of Invasion in Argentina was lukewarm, but its premiere at Cannes in 1969 propelled the then 29-year-old Santiago - a former assistant of Robert Bresson's - to fame. He would return to Cannes (in the main competition) in 1974 with his second film, The Others.
Before and after: Hui, Au and Wong were recruited for the production on the strength of their entries at the Fresh Wave shorts festival. Trivisa bowed at the Berlin Film Festival to widespread acclaim, and would go on to win five prizes (including Best Film and Best Director) at the Hong Kong Film Awards. Au's follow up is Distinction (2018).
Before and after: Oshima had two films at the Directors' Fortnight, the other being Diary of a Shinjuku Thief. He would eventually return programme with two films (Man Who Left His Will On Film and The Ceremony) in 1971 before bringing probably his most controversial outing, In the Realm of the Senses, to the Fortnight in 1976.
Before and after: While his first fictional foray, Farewell Hong Kong (2002), screened at Sundance, Cheung's reputation was built on documentaries such as KJ: Music and Life (2009) and The Taste of Youth (2016). Somewhere Beyond the Mist debuted in Busan in 2017, and he's now working on his follow-up The Idiots.
Presented by: Hong Kong Arts Centre | Financially Supported by: Film Development Fund, Create Hong Kong
Festival Partners: Cannes Directors’ Fortnight, Consulate General of France in Hong Kong & Macau
An Associated Project of: Le French May
Supporters: Alliance Française Hong Kong
Mobile App Partner: Hong Kong Movie