Hong Kong film production has become a hot topic again thanks to the film Ten Years, which was named “Best Film” at the 35th Hong Kong Film Awards last month.
Ten Years consists of five short stories: Extra, directed by Kwok Zune; Season of the end by Wong Fei Pang; Dialect by Jevons Au; Self-Immolator by Chow Kwun Wai; and Ng Ka Leung’s Local Egg.
Since its first screening in Hong Kong in 2015, the film has generated total box office revenues of more than HK$6 million. This is seen as remarkable, considering the fact that it only cost HK$500,000 to produce.
After Ten Years snatched the “Best Film” award, it triggered vigorous debate within the local film industry, which then spread to the wider Hong Kong public. It is indeed impressive that such a low-cost, small-scale production has ignited arguments throughout Hong Kong and the region.
Although the production of Ten Years is not perfect, its political statement is strikingly stark: the five short stories touch issues such as the legislation to enact Basic Law Article 23, local preservation, the dispute between Cantonese and Mandarin, Hong Kong independence and brainwashing in education. All these topics are politically sensitive and have been at the centre of many social disputes in Hong Kong in recent years. This explains the extensive debate the film has caused.
Whether Ten Years is worthy of the “Best Film” award is up to viewers to make their own judgment. Some critics suggest the film is too pessimistic in its portrayal of the future of Hong Kong. Nonetheless, as an artistic creation, a film can include different points of view. It is not always an advantage to be optimistic, and being pessimistic is not detrimental all the time either.
The important issue is the debate this film has initiated, as well as whether this debate can lead to a logical and pragmatic contemplation on the present day situation. On this, Ten Years is essential in bringing on the discussion about the future of Hong Kong and answering the question of “where Hong Kong should head towards”, regardless of whether it is optimistic or pessimistic.
At this moment, I can’t help but recall the Macau film 2049. This brainchild of a group of students from the University of Macau’s Department of Communication in 2013, adopted the year 2049 as the background of the story. The year is the final year of the 50-year period after Macau’s sovereignty was handed over to China, a time period within which the Chinese government promised Macau’s way of life would not change. Similar to Ten Years, 2049 provokes contemplation on and enquiries into the social issues in Macau through an imagined future of the territory.
Watching this film three years after it first screened, it’s not difficult to find that many of the discussions in it are still extremely relevant. If you are interested, you can find the film on Youtube.
The truth is, we should encourage all Macau residents, including the youth, to ponder the future of this city. Therefore, the production of 2049 is more significant for people in Macau. If we are thinking even more ardently, I would dare to say that the scriptwriting and filming level of Macau youth already reached that of the Hong Kong Film Awards three years ago.
