The Graduate (1967)
In a film that portrays the mother of all first-world problems, recent Uni grad Benjamin Braddock is seduced by one of his parents’ friends—the sultry Mrs. Robinson. Not satisfied with being cougar-bait, Ben then falls in love with the more age-appropriate Elaine Robinson, creating a mother-daughter-Dustin Hoffman love triangle that can only end in… murder? (Spoiler: It doesn’t end in murder.)
You’ve bought a bouquet and bonded over brunch: you did good, kid. But now you have the rest of the afternoon ahead of you, and you don’t want to hear about her troubles with Skype, the new drapes or that mole she had burned off. Never fear: our Film editor Sean Hebert has some ideas for Mother’s Day flicks that will show mom how you really feel.
I was born and grew up in upstate New York in Albany. I have five older brothers.
I was invited to Hong Kong in 1983 by [film producer] Nansun Shi, who is the wife of the director Tsui Hark. Back in the ‘80s they had one of the most successful film companies [in Hong Kong]—it was called Cinema City.
She found a picture of my brother Russell, [and] flew us over for a screen test, because they were looking for new artists to act in their films. Next thing we knew we were on a plane to Hong Kong.
A stalwart of the Hong Kong film industry for more than two decades, actor Michael Wong is also a father of three and a keen pilot. He sits down with Andrea Lo on his birthday to talk about his on-screen career, his passion for aviation, and what makes Hong Kong great.
HK Magazine: Tell me, how did you get into the film industry?
Kiyoshi Kurosawa: When I was very young, I loved watching films. I made some films with an 8mm camera when I was in university and I don’t remember how or when, but it became my work. In the 1970’s or 80’s the film industry in Japan was not that popular or very rewarding, but university students who filmed with an 8mm camera had a chance to present themselves. I think it was lucky that I was able to join the film industry when I did.
Famed Japanese director Kiyoshi Kurosawa has won countless awards throughout his long career, and is perhaps best known for repeatedly forcing fans of his horror films to sleep with the lights on. He appeared at this year’s HKIFF as one of four auteurs at the helm of “Beautiful 2013”; a collection of short films made specifically for this year’s event. Christopher Mellen sat down with him to discuss his origins in cinema, this project and how his approach to filmmaking has evolved.
HK Magazine: How long did it take to create the “Paradise Trilogy” from start to finish?
Controversial Austrian director Ulrich Seidl has never been afraid to make a splash, and his latest project is no exception. When the second part of his “Paradise Trilogy” premiered at The Venice Film Festival in 2012, the uproar caused amongst Italian media for its “blasphemous” content was international news, though as often as his work is panned it is praised for its merciless exploration of humanity’s most difficult debates. Seidl brought all three films to this year’s HKIFF, and he sat down with Christopher Mellen to discuss the film, his method and his motivation for exploring religion.
HK Magazine: What made you start following Jeremy Lin at Harvard?
EJ Leong: Well, I’ve known a lot of Asian-American role models and celebrities that made the news, and I’ve always been interested in any Asian-American anything. What he was doing at Harvard was making waves that we were hearing across the country in California. Here’s this kid. He’s winning games. He’s breaking records. He’s dunking.
Evan Jackson Leong was already an award-winning documentarian and filmmaker when he began following Asian-American basketballer Jeremy Lin’s playing career at Harvard University. Fast forward to 2013: Lin is a household name after a breakout season in the NBA, and the film “Linsanity” has played Sundance and the HKIFF, slated for release later this year. Christopher Mellen sat down with Leong to discuss the documentary, its subject and his roots.
I am used to getting rejected [by investors]. Nine out of ten proposals are turned down.
I insist on filming something I want, so I traipse around the island, Kowloon and the New Territories in search of investors. Most of the time, I can’t find anyone interested.
Many mainland investors do not really understand creativity—even less than their Hong Kong counterparts. They treat movie-making as a business, and they have a lot of other concerns. They might want to cast their girlfriends.
Mabel Cheung is one of the most prominent female directors in Hong Kong. Since forming a creative team with longtime boyfriend Alex Law in the 1980s, the pair have juggled directing, scriptwriting and producing, creating classics such as “An Autumn’s Tale,” “City of Glass” and “Echoes of the Rainbow.” She talks to Grace Tsoi about moviemaking, the future of Hong Kong cinema and what to do when Daniel Wu tells you he got dumped.
I was born in Hong Kong. My mum is from Australia and my dad is from New Zealand. They came here over 30 years ago and they have been living here ever since. My brother and I were both born and raised here.
A singer and actress who was born and raised in Hong Kong, Corinna Chamberlain shot to fame after performing in the TVB series “Inbound Troubles”—in fluent Cantonese. In her first ever English media interview, the 31-year-old tells Andrea Lo about her childhood, her views on Hong Kong culture and her career.
The seventh annual Asian Film Awards was held at the Convention Centre on Monday.
HK Magazine steps behind the curtain and takes a look at the Asian Film Awards from backstage, catching the reactions and interactions from the night's big winners.
When the 85th Academy Awards wrapped up in Los Angeles last month, it would have been easy to believe that director Ben Affleck was the night’s big winner. After all, his film “Argo” took home three statues, including the all-important Best Picture. But amid the glitz, the glamour, the red carpet dresses and the big Hollywood names, the Oscars generate some serious money for the film industry. So how does the need to make money reconcile with the need to honor excellence in cinema?
With the seventh annual Asian Film Awards just around the corner, Sean Hebert explores how culture and commercialism need to co-exist not only for the benefit of cinema lovers, but Hong Kong as a whole.
We are living in this global world and it’s important for 21st century filmmakers to have an international outlook—to make films in other countries like the United States or in Europe. This is not inconceivable. It happened in the 20th century with, say, John Woo, who had a successful career in Hong Kong and then moved to Hollywood and had a successful career there, and then with some of the skills and experience of all of that, went to China and made “Red Cliff”— a huge budget and special effects movie.
When Roger Garcia took over the Hong Kong International Film Festival Society in 2010, he was already an established film producer, critic and writer in Asia and internationally. With the HKIFF and the Asian Film Awards (AFA) both underway in less than a month, he sits down with Sean Hebert to discuss the evolution and new realities of filmmaking in Hong Kong.