If There’s an Extra Ticket… Would You Watch With Me? 「如果有多一張戲飛，你會唔會同我一齊睇？」

By Karen Tang

Introduction

Decidophobia. The irrational or prolonged fear of making decisions. From picking a lunch set, to choosing a cover photo for Instagram posts, I always take a few more moments before resorting to a random decision. Hence, to navigate you through the endless rummages in the sea of Netflix recommendations and exaggerated reviews, this snippet, a.k.a FILM 1000 “Introduction to East Asian Culture Through Movies,” serves to relieve your distressed concern on movie-picking.

Movie 1

Happy Together 《春光乍洩》

[cheun1 gwong1 ja3 sit3]

(1997), Dir. Wong Kar Wai

Made in Hong Kong.

As a highly acclaimed filmmaker and probably the most famous one in Hong Kong, Director Wong Kar Wai’s films are the ones to start with. Accompanied by handpicked soundtracks, lifestyle in 90’s Hong Kong projected under his lens seems exceptionally aesthetic and melancholic. Happy Together showcases the turbulent relationship between a homosexual couple, Po-Wing and Yiu-Fai. For non-Chinese speakers, the English title failed to do the movie justice, as their relationship is neither as shallow nor vibrant as the title makes it seem. The Chinese title, a proverb, can be described as “the blooming spark of light in spring has just been leaked out.” Spring (春 [cheun1]) does not only represent the colour green, it also signifies a spark of hope, and a rekindling love between the two.

Released much earlier before blockbusters like Brokeback Mountain (2005) or Call Me By Your Name (2017), Happy Together stirred up numerous controversies among conservative regions. One is notably named as the ‘steamy sex scene’ which captures the intimacy between Po-Wing and Yiu-Fai under black and white lens. Another highlight of the movie is how Dir. Wong portrays the main characters Fai and Po-wing, to be insanely in love. This does not mean the movie is filled with swoony dialogues or skinships. Instead, their love is rather crooked, with Po-wing being the violent dominator, and Fai as a pitiful masochist. After several break-ups and make-ups, the development of characters leads us to reconsider, what does love mean? When Po-wing suggested the two to part ways because he felt bored in a relationship, has their love died down? Or would the feelings rekindle once they meet again? An extreme version of love, known as domination, always seems to destroy affectionate feelings between a couple, and this is no exception for the two. Arguments, mistrust, disbelief, lies, violence become scars of pain, sadly leaving the two soaking in blood. Being plunged into a whirlpool of scattered memories, both Fai and Po-wing were losers in this game called love.

The year 1997 is significant in Hong Kong’s history, as it symbolises the transfer of sovereignty over Hong Kong from the United Kingdom to China. In that period of political instability, Dir. Wong carefully selected this couple to express his ideas on self-identity and the future of Hong Kong. After being awarded as Best Director in the 1997 Cannes Film Festival, he also emphasised his determination to continue producing local movies. Dir. Wong captured the uncertainty of one’s social identity by highlighting British National (Overseas) (BNO) passports in the couple’s quarrels. From the Extradition Bill (2019), National Security Law (2020), to the recent Immigration (Amendments) Bill, this brewing political turmoil has provoked fear and conflicts in many Hongkongers. Coincidentally, with UK’s lenient BNO policy and Prime Minister Boris Johnson’s welcoming attitude towards BNO passport holders, more than 27 thousand applicants are determined to escape from their hometown. [1] Revisiting Happy Together in the midst of such instability clearly proves that Dir. Wong never fails to mix social issues in his artworks. However, if you wonder how ongoing disputes between Hongkongers will end up, I am sorry that this movie doesn’t shed light on what Hong Kong will turn into. Still, just like Fai and Po-wing’s journey, a destination is always there, awaiting for our arrival, someday.

More like this:

• Farewell My Concubine 《霸王別姬》(1993), Dir. Chen Kai Ge [China]
• The Handmaiden 《下女誘罪》(2016), Dir. Park Chan Wook [South Korea]
• Us And Them 《後來的我們》 (2018), Dir. Rene Liu [China]

Movie 2

You are the Apple of My Eye 《那些年，我們一起追的女孩》

[na5 se1 nin4 ngo5 mun4 yat1 hei2 jeui1 dik1 neui5 haai4]

(2011), Dir. Giddens Ko

Made in Taiwan.

With COVID-19 taking over the globe, our ordinary campus life seems like nothing but a blur. To brush up memories of our ‘historical’ school life memories,  You are the Apple of My Eye takes the audience on a time machine to Changhua county, Taiwan in the 90’s. 

Just mentioning this movie, many would instantly think of the theme song “Those Bygone Years”, sung by Taiwanese singer Hu Xia. Between the lines of lyrics like “those years where we missed the rainstorm, those years where we missed our love. I want to embrace you, to embrace the courage that I missed” unfold the bittersweet moments between Ching-teng and Chia-yi. Earlier parts of the movie records how Ching-teng was attracted to his ‘goddess’ Chia-yi, and how they eventually got together. However, when the couple were accepted into different universities, their love withered and the two slowly drifted apart. If only time could take them back… sadly, there are no alternatives in life. So what makes Ching-teng and Chia-yi’s relationship memorable but painful? It is about all their regrets as a couple. The incomplete dates, the unspoken words, these reflect how life is never perfect and flawless. Unlike any other generic romantic comedies with “pink bubbles” almost floating out from the movie screens, You are the Apple of My Eye captures humans’ vivid and rawest emotions. That is what makes it such a heart wrenching piece. 

Why does this movie appeal to such a large crowd of audience? Its enchanting theme song, its heartbreaking plot, its portrait of everyone’s childhood memories, and its realism. In fact, the plot is based on Dir Ko’s semi-autobiography, which shares the same title with the movie. Coincidentally, directors seem to prefer using their own products as platforms to unleash their raw feelings towards a specific person. Dir. Richard Linaklater created the megahit Before Sunrise (1995) (and the Before trilogy) to search for his Celine after their fleeting encounter in a toy shop in Philadelphia. Back to this movie, Dir. Ko’s movie is to deliver his feelings to his highschool crush, who shares the same name as the female character Chia-yi. When Dir. Ko revealed his story as the blueprint of the movie, Chia-yi in real life was exposed to be a wife of a businessman. Of course, he knows that adapting his experience means that factual matters should be clearly communicated to the audience, to prevent harming others by people’s fantasies. Still, he insisted on keeping the last 10-minute segment in his production, which is a bittersweet and imaginative scene. Some may say that is unnecessary and weird to watch. But after all, movies are places for people to pour out their creativity.

More like this:

• Whisper of the Heart 《心之谷》(1995), Dir. Yoshifumi Kondō [Japan]
• Our Times 《我的少女時代》(2015), Dir. Chen Yu-shan [Taiwan]
• Let Me Eat Your Pancreas 《我想吃掉你的胰臟》(2017), Dir. Shō Tsukikawa [Japan]

Movie 3

Departures《禮儀師之奏鳴曲》

[lai5 yi4 si1 ji1 jau3 ming4 kuk1]

(2008), Dir. Yōjirō Takita

Made in Japan.

While the topic of death itself may still be perceived as a taboo in some East Asian regions, producers tend to incorporate the theme of life and death in movies. Departures is a well-received film telling the story of Daigo, a cellist-turned-nōkanshi. Nōkanshi is a Japanese-based traditional ritual mortician, who plays a key role in funerals by applying cleaning and applying makeup to the body.

When someone in a family has passed away, other members of the family normally treat funeral service workers humbly with respect, so their relatives can be sent to the afterlife in peace. Otherwise, the job nature of these workers may be labelled as “dirty and indecent.” Due to the social stigma of the industry, Daigo was ostracized by his friends and social circle. He also told his wife that he was working for a “travel agency,” before his true occupation was found out. The tension built up when his wife, feeling disgusted and disappointed, threatened Daigo to move out until he quit his job.

Departures not only portrays the misconceptions brewed in society, but also brings out the message of celebrating life and acknowledging death. Funeral traditions are important in Asia, especially for Buddhists and Taoists. Daigo’s job includes dressing the body in white, putting on makeup and performing rituals before putting the body in a casket to be sent to the afterlife. Daigo gradually feels his job is not only about completing procedures, but soothing the heart-stricken ambience by bringing calmness. The goal of a nōkanshi is to let families of the deceased bid farewell to the deceased in his or her best appearance. When all the rituals come to an end, family members of the deceased greet the nōkanshi with a thankful smile. Frankly speaking, no one knows how the afterlife functions, or whether an afterlife actually exists. But solemn procedures captured in Departures serve as a recollection of memories, before keeping the departed in people’s heart.

More Like This:

• Made in Hong Kong 《香港製造》 (1997), Dir. Fruit Chan [Hong Kong]
• Along with the Gods: The Two Worlds 《與神同行：兩個世界》 (2017), Dir. Kim Yong Hwa [South Korea]
• Little Big Women 《孤味》 (2020), Dir. Joseph Hsu [Taiwan]

Movie 4

Silenced 《無聲吶喊》

[mou4 seng1 naap6 haam3]

(2011), Dir. Hwang Dong Hyuk

Made in South Korea.

Movies serve as a point for us to reflect on our community through adapting events in society. Silenced (Dogani in Korean) is adapted from a novel by the writer Gong Ji Young, and the novel is based on real events in Gwang Ju, a province in South Korea.

Silenced tells a story about a school for the hearing-impaired in Mujin. Young disabled students are the victims of malicious sexual assault by the school principal and several teachers. As much as the audience is disgusted by sexual abuse, they are also outraged by police corruption and the inefficacy of Korea’s judicial system. Although the plot may seem absurd, this is accurately reflected by real-life figures. With a staggering 23 thousand arrests for sexual assault in the country last year, the poor kids are only a small portion of many more helpless victims. [2]

Besides shedding light on sexual assault, Silenced infers different characters staying silent throughout the movie. The young victims initially remained silent out of fear and horror of threats. Surrounding teachers and citizens kept their mouths shut for the reputation of their community. On top of that, executive officers who violently obtained evidence to prosecute the perpetrators, were muted by money laundering. In reality, victim-blaming is sadly a common phenomenon in sexual assault cases, especially when two parties show a significant difference in social status. Despite the young victims crying desperately for assistance, none of them received any aid. Instead, they were viewed as ‘seducing’ the principal and consenting. The misty fog of Mujin traps rumours of the school from leaking out, while social stigmas bars victims from seeking help. Although the protagonists were determined to rescue the kids, they could hardly fight against the institution and the corrupt police.

The protagonist once said, “We should fight not to change the world itself, but to stop the world from changing us.” In the movie, when protestors advocated justice for the victims, they were dispersed by merciless police and cannon trucks. This is sadly, a vivid image associated with heartbroken memories of many Hong Kongers. At this devastating moment, the urge to fight for criminal justice is rekindled in many South Koreans’ hearts. This emotional ride sparks off national sentiment around the country, and even prompted lawmakers to introduce legislation to convict sexual offenders. Korea’s parliament passed the ‘Dogani Bill’ which raises the punishment of sexual criminals to life imprisonment. The physical and mental trauma scars forever, but amendments in the law means that culprits like the principal have to compensate heavily for their unforgivable wrongdoings. In this way, movies like Silenced serve as an alarm for people about societal affairs and the importance of upholding justice.

More like this:

• Memories of Murder 《殺人回憶》 (2003), Dir. Bong Joon Ho [South Korea]
• Ten Years 《十年》(2015), Dir. Kwok Zune, Dir. Wong Fei Pang, Dir. Jevons Au, Dir. Kiwi Chow, Dir. Ng Ka Leung [Hong Kong]
• A Taxi Driver 《逆權司機》(2017), Dir. Jang Hoon [South Korea]

Movie 5

Still Human 《淪落人》

[leun4 lok6 yan4]

(2018), Dir. Oliver Chan

Made in Hong Kong.

The Chinese title of Still Human means people who encounter misfortune. This comes from a famous line by the Tang dynasty poet Bai Juyi (白居易): “Those who bear the same illness sympathise with each other” (同是天涯淪落人). Starring best actor Anthony Wong and Pilipino rookie actress Crisel Consunji, this movie dives into the ordinary lives of a disabled old man and his domestic helper.

Unlike Western countries, it is common for people in Asian regions to hire domestic maids who are mainly Indoenisan or Filipino. When Evelyn, Cheong-wing’s domestic helper first entered his home, they would bicker on minor issues like cleaning the floor or the pronunciation of Cantonese slang. As the season changes and time slips by, they gradually develop a strong bond. Reflecting on real-life scenarios, minor conflicts are unavoidable within families. Hins Cheung, a famous Hong Kong singer-songwriter, has been hilariously sharing his snippets of life with his newly hired domestic helper. His Instagram updates about breakfast meals to the use of cooking utensils precisely reflect the ‘adjustment period’ in households. While this topic hilariously becomes the talk of the town, posts on a Facebook group called “Support Group for HK Employers with Foreign Domestic Helpers (FDHs)” show another side of arguments between employers and FDHs. Complaints from employers range from hygiene practices to daily attitudes, such as talking on the phone for several hours a day. Certainly, a few words of platitude may resolve this deep-rooted problem among many families, but Just Human portrays important elements for employers and FDHs to get along—compassion and respect. 

No one should be deprived of their right to dream. Even FDHs who left their home country and work for six days a week, should be allowed to pursue their goals in life. In the movie, Cheong-wing discovered Evelyn’s passion and talent in photography. Being physically constrained in his wheelchair, Cheong-wing knew his daring hopes would most likely turn to ashes. So, he decided to turn Evelyn’s photography ‘spark’ into his own, by buying her a digital camera to participate in competitions. Taking photos seems like an easy hobby for most of us, but it almost seemed like an impossible aspiration for Evelyn. Just Human tells a simple but easily forgotten message, and that is to follow your heart and chase for your dreams. It doesn’t matter whether your aspirations are as ambitious as becoming a millionaire, or simply being healthy and safe. Once you have sorted out what sparks joy in your heart, work towards it, and that will be the cure to your illness.

More like this:

• Echoes of the Rainbow《歲月神偷》 (2010), Dir. Alex Law [Hong Kong]
• Mad World 《一念無明》 (2016), Dir. Wong Chun [Hong Kong]
• Memories to Choke On, Drinks to Wash Them Down 《夜香・鴛鴦・深水埗》  (2020), Dir. Leung Ming Kai [Hong Kong]

[1] BBC News “香港人移民：BNO簽證申請遠超預期，英國政府撥款助港人融入當地”

[2] Statistica.com, “Number of arrests for sexual assault in South Korea from 2013 to 2019”