Invisible Nation helps to make Taiwan (more) visible (Film review)

 

Seen on the fourth day of my most recent Taiwan trip

 

Invisible Nation: Extended Cut (USA-Taiwan, 2024)

- Vanessa Hope, director and co-producer (along with four others)

 

I first heard about Invisible Nation soon after its September 2023 debut at the Woodstock Film Festival.  But with things being the way they now are in Hong Kong (with not only a number of Hong Kong protest documentaries not being allowed to be screened in cinemas but, also, certain films from Taiwan and elsewhere that were apparently adjudged to have breached the national security law), I held little hope of being able to view this documentary about Taiwan that was shot for the most part during Tsai Ing Wen's presidency. (Filming of the documentary began in May 2017, one year after she assumed office.)

 

So imagine my surprise upon discovering earlier this week that that which is listed as the extended cut of the film (yet is 82 minutes long, in contrast to the 85 minutes listed length (on IMDB) of the original version!) made available on the PBS platform is available to view in Hong Kong (as well as the USA) sans VPN!  And to confirm that, as of a few minutes ago, this documentary remains available to view, and for free too!

 

Invisible Nation begins with beautiful, peaceful vistas of a green tropical land with seas and urban along with rural scapes.  It then proceeds to show a smiling Tsai Ing Wen meeting school students and telling them that she hoped to learn from them "what you hope your country can do for you."  

 

Right there and then, it's made clear that Taiwan is a distinct place, and most definitely a democracy.  So one feels quite the frisson when the film then follows up with a view of The Great Wall of China and the sound of Chinese leader Xi Jinping stating that "Taiwan is part of China".  The People's Republic of China, it is implied.  In other words: non-democratic, authoritarian, Communist China.

 

Over the course of Invisible Nation, one also learns of how, in addition to denying that Taiwan is an independent nation, the government over in Beijing does its utmost to deny Taiwan visibility in the world -- and how the world for the most part, including world organizations like the United Nations and International Olympic Committee and other international sports bodies, goes along with it; with Taiwan not being a member nation of the United Nations, and Taiwanese sportsmen and sportswomen having to compete these days in international tournaments under the name "Chinese Taipei" and the Taiwanese national anthem not being allowed to be played when Taiwanese athletes win at the Olympics.

 

Despite it looking to be a David versus Goliath battle, Taiwan -- especially during the presidency of Tsai Ing Wen -- is not taking all this lying down.  (Why would it?  Especially when we know that in the Old Testament tale, David beat Goliath!)  And what Invisible Nation also makes clear is that Taiwan's existential struggle is two fold: with one part involving Taiwan working to stay politically independent and democratic; and the other part telling Taiwan's story to the world.

 

With Invisible Nation helping to fulfill the latter task, it's easy to see that there are people who will accuse it of being a propaganda work.  And for sure, Vanessa Hope does present Taiwan in a friendlier light than the People's Republic of China.  Ditto with regards to Taiwan's first female president (who, after serving two terms, has been succeeded by her vice-president, William Lai Ching Te -- as an afterword in the extended cut points out) being presented in a more favourable manner than Communist China's "president for life" (who assumed the offices of General Secretary of the Chinese Communist Party and Chairman of the Central Military Commission back in 2012)!

 

At the same time though, Invisible Nation does present facts and figures, not just biases and vibes.  The documentary also does provide a historical perspective and portrait of a culturally diverse people that is helpful in allowing people to understand the overall situation and picture; one that, frankly, can come across as very complex and complicated, and overwhelm those who come into a viewing of this film with (next to) zero prior knowledge of East Asia -- though my own sense is that Vanessa Hope pitched this at just the right level, so that you don't have to be a complete East Asian political wonk to be able to comprehend and follow it all!

 

My rating for this film: 8.5          

Past Future Continuous may not be the documentary it's presented to be (Film review)

  

One of the posters that was part of the HKIFF's 

poster exhibition at the Hong Kong Cultural Centre

 

Past Future Continuous (Iran-Italy-Norway, 2025) 

- Firouzeh Khosrovani and Morteza Ahmadvand co-directors, and co-scriptwriters (with Naghmeh Samini)

- Part of the HKIFF's Documentary Competition program 

 

This deceptively straightforward entry in this year's Hong Kong International Film Festival's Documentary Competition was the winner of an award at last year's International Documentary Film Amsterdam (IDFA).  It also is described as a documentary on the Internet Movie Database (IMDB) website, Letterboxd and elsewhere I've looked.

 

But something seems amiss when there are three scriptwriters along with two co-directors (USA-based Firouzeh Khosrovani, and Moretza Ahmadvand, who resides in Tehran, Iran) listed for Past Future Continuous but none of them have the same name as Maryam, the involuntary immigrant from Iran now teaching at a university somewhere in the USA, whose story is told (in first person narrative form) in the film.    

 

To be sure, it would be understandable if Maryam is not the real name of someone who has resorted to having closed circuit television cameras installed in her family home in order to be visually connected with her parents living thousands of miles away in a country it no longer is safe for her to return to.  Very sadly, there are many people, including Hongkongers, who can only see beloved family members on TV, computer and smartphone screens these days.  

 

I just wish it would be more clearly outlined if Maryam is a real person's pseudonym or fictional character since there is a whole world of a difference between watching something is reality versus fiction, however based-on-reality the presented fictionalised situations are.  And the truth of the matter is that the nagging possibility that the people we see on screen for the bulk of Past Future Continuous are actors playing parts rather than the actual parents of someone who clearly loves and misses them can be distracting -- and detract from what actually would be a genuine tragedy unfolding on the screen; one involving a lonely couple -- who no longer have guests in their home, the way they used to do so in their younger, pre-Iranian Revolution days -- growing older, frailer and ill before our eyes.

 

Alternatively, if Past Future Continuous were indeed taken as a realist work of fiction rather than documentary, I actually would have been more tolerant of the repeated images of a fluttering white dove that feature in more than one part of the film and looked upon them as lyrically poetic rather than aesthetically indulgent!  Either way though, it speaks volumes that so much is left unsaid in this enigmatic work where so many things (and people?) may not be all that they (initially) seem.

 

My rating for this film: 6.0    

The Ozu Diaries is a Yazujiro Ozu documentary for his fans (Film review)

Scene in Tokyo three years ago -- the year of the

120th anniversary of Yazujiro Ozu's birth

 

The Ozu Diaries (U.S.A., 2025)

-  Daniel Raim, director-scriptwriter

- Part of the HKIFF's Filmmakers and Filmmaking program 

 

As I mentioned in a previous blog post, there are fewer Japanese films than usual being screened at the Hong Kong International Film Festival this year.  But as it turned out, I've viewed the same amount of documentaries about Japanese subjects at the 50th HKIFF as I have Japanese films (which also included anime work The Lost Blossom along with the live action Meets the World).  

 

First up was Noh documentary The Path of Soul.  And then there's The Ozu Diaries, American filmmaker Daniel Raim's documentary about the late, great Yasujiro Ozu -- mainly in the Japanese auteur's own words (taken from his private journals but also letters) but supplemented by archival interviews and recollections by those who knew him (notably, Kinuyo Tanaka, the star of a number of his early works, scriptwriter Kogo Noda, child actor Tomio Aoki and Ozu's granddaughter, Akiko Ozu), and reflections on Ozu's works by Kiroshi Kurosawa, Wim Wenders, Luc Dardenne and Tsai Ming Liang.

 

Of the quartet of directors interviewed for the documentary, my sense is that the main contributions of the three non-Japanese ones was to emphasize Ozu's international influence and reputation.  However, I found it interesting and amusing to hear Kiyoshi Kurosawa talk about how he personally "discovered" the films of Ozu -- a director out of fashion at the time that the younger Japanese filmmaker decided to give Ozu's films a watch, beginning with the later, color talkies (rather than chronologically, with Ozu's silent black and white works).

 

In contrast, much appreciated colour along with insights were added by the inclusion of the interviews of those who had worked with Ozu; and I really liked that their recollections are of him as a person, not just a director.  Among other things, The Ozu Diaries reveals that he was a man who loved his sake, to dance and laugh, had Western as well as traditional Japanese ways about him, and who cared very much for -- and laughed a lot in the company of -- his mother. 

 

The Ozu Diaries covers a lot of ground, and even features excerpts from his diaries along with photographs and sketches from the time he spent as a conscripted soldier in Manchuria and Singapore.  It is worth noting though that Ozu expressly forbade the publication of at least one of his diaries from the war years.  And I do get the sense that Daniel Raim erred on the side of caution in terms of what he decided to include from those periods of Ozu's life in this documentary.  

 

Consequently, those looking for dirt to smear Ozu won't find it in this documentary by someone who surely ranks as a fan of the Japanese auteur.  Which, frankly, is a situation I think the vast majority of people attracted to go watch a documentary about Ozu would prefer.  For, after all, many cinephiles are attracted to the films of Ozu for their great humanity -- which often comes with far more doses of humour than those who still have yet to discover his works (some clips from which -- including home movies! -- are included in this documentary) realise.   

 

My rating for this film: 7.5   

Stranger Eyes is on the strange side! (Film review)

  

Seen on the screen before the final 2025 Hong Kong

International Film Festival screening I attended 

 

Stranger Eyes (Singapore-Taiwan-France-USA, 2024)

- Yeo Siew Hua, director-scriptwriter

- Starring: Wu Chien Ho, Lee Kang Sheng, Anicca Panna, Pete Teo

- Part of the HKIFF's Cinephile Paradise program 

 

While the Hong Kong International Film Festival was in progress, two friends and I discussed our fest picks. Upon hearing that Stranger Eyes was among my selections, one of them jokingly asked me, "Are you sure?  Lee Kang Sheng's in it!"  Whereby I pointed out that although he's been in a number of films I've disliked (including Goodbye, Dragon Inn and I Don't Want To Sleep Alone), all of them had been directed by Tsai Ming Liang -- unlike this one!

 

Post viewing this Yeo Siew Hua directorial effort, however, I must say that I get the sense that Tsai Ming Liang is a filmmaker that this work's helmer admires though; and not just because of the Singaporean director-scriptwriter having got Tsai Ming Liang's favourite actor to appear in his movies.  Among other things, the slow and methodical pacing appears to be influenced by Tsai Ming Liang too; and ditto re the film's improvisational style, which lends it a quirkiness and unpredictability that seems rather, if I were to culturally stereotype, un-Singaporean!

 

Despite being a multi-national co-production, Stranger Eyes' setting is entirely in Singapore though.  Also recognisably Singaporean are elements such as the film's focus being on individuals who live in apartments -- one group in a three-generational household, the other in a two-generational one.   

 

Initially, Stranger Eyes centers on the former.  Junyang (played by Wu Chien Ho) and Peiying (portrayed by Annica Panna), their baby and his mother (who comes in the form of the un-grandmotherly appearing Vera Chen) live together in an apartment.  Or, rather, did -- as baby Bo has disappeared.  One moment, she was at a playground with Junyang.  Then, when his attention was focused elsewhere, she seemingly vanished from sight.      

In an apartment in a block facing their apartment live supermarket manager Wu (portrayed by Lee Kang Sheng) and his elderly mother.  Unbeknownst to Junyang and Peiying, their paths have crossed with Wu -- who, it turns out, has been effectively surveilling them at work and from his home; in part because he is fascinated by Peiying, seemingly in part out of boredom and, also, because it's easy enough to do!      

For reasons that never seem to have been made clear, Wu decides to drop off DVDs of recordings of his surveillance "work" at the home of Junyang, Peiying and co.  Whereupon the young couple -- and Officer Zheng (played by Malaysian actor-singer-composer Pete Teo), the cop investigating the disappearance of baby Bo -- get to suspecting that Wu may have kidnapped their young child.  

A strange psychological thriller-drama, not least in that much of the psychological dispositions and quirks of everyone concerned seems to be left to interpretation, Stranger Eyes was most interesting to me in terms of showing the surveillance devices and opportunities to observe others that various people, police but also civilians, neighbours and strangers have at their disposal in today's world.  Videos taken on phones and surveillance cameras are utilized but we also see how, and how much of themselves, people reveal on social media and such.  And how people can stay anonymous in crowds or when in uniform or just carrying out the kind of work and duties so routine that folks barely notice the person doing them.

 

Ironically, even while the people in Stranger Eyes are shown doing things, we actually don't hear them speaking, never mind actually qualitatively conversing, all that much.  So is the message of the movie that we can see but still not understand others around us, including those we live in close proximity to?  Maybe.  For the director -- rather frustratingly to my mind -- appears to have sought to keep his cards close to his chest as well as not wear his heart on his sleeve! 

 

My rating for this film: 6.5

An American Pastorale is far more American nightmare than dream (Film screening)

TV journalist turned documentary filmmaker Auberi Edler

listening to questions at the post-screening Q&A   

 

An American Pastorale (France, 2024)

- Auberi Edler, director, scriptwriter and cinematographer

- Part of the HKIFF's Documentary Competition program 

 

Back in the 19th century, French diplomat-historian Alexis de Tocqueville published Democracy in America after spending 10 months in the United States of America.  Now in the 21st century, French TV journalist turned documentary filmmaker Auberi Edler spent around that amount of time in a small conservative American town (actually, technically, borough) and has produced An American Pastorale, a documentary that could be said to show how democracy in America dies.

 

In March 2023, a year long electoral campaign began to elect the school board of Elizabethtown, Pennsylvania (as opposed to Elizabethtown, Kentucky, the setting for Cameron Crowe's 2005 romantic comedy, Elizabethtown!).  As Republican and Democrat candidates went from door to door canvasing voters, Auberi Edler's camera was there to follow and record them.

 

Non-interventionist, offering neither narration nor commentary, Auberi Edler quietly captured on camera how a schoolboard election devolves into culture wars whose strands included book censorship, gun control and the undue influence of organized religion (and, in Elizabethtown, one evangelical church in particular) in people's lives and general politics.  In school classrooms, churches, private homes and pretty much elsewhere in between, people of various political stripes -- all of whom are uniformly white in terms of their ethnicity though (note: I've checked and Elizabethtown really does have very few non-white residents) -- are filmed revealing their private as well as public thoughts and in so doing, reveal so much about themselves, their hometown and their country.

 

An American Pastorale had its world premiere -- shortly after the American Presidential Election last year but before Donald Trump returned to the White House -- at the International Documentary Festival Amsterdam (where Auberi Edler came away with the Best Director prize).  At the time of my writing this review, it has yet to be screened in the USA.  (Indeed, it was only a few days ago that the North American distribution rights for it were sold.)  

 

Based on its title, one might have thought that the natural/target audience for this documentary would be Americans.  But an American friend who saw it (here in Hong Kong) told me it had made her cringe and another friend, upon my telling her about the film, told me she didn't think she could stomach viewing it; this particular because she actually personally knew someone from Elizabethtown, Pennsylvania!

 

Despite not being an American myself, I understand.  An American Pastorale is not an easy watch for those who don't like seeing bigotry triumph, thanks in part to how ineffectual, even downright lame and weak, the opposition to far-right white nationalism in Christian clothing was (and is).  Put another way: pretty much everyone seen in this quietly devastating cinema vérité-style documentary -- by a filmmaker who knows very well that, often, it's best to just let a person incriminate themself -- does not come off looking good.  And their country too!

 

Those who know me know that I absolutely hate people talking in cinemas.  But I have to confess: I found myself commenting aloud about, and in response to, certain statements and declarations made, seemingly seriously, by Elizabethtown residents -- and recorded for posterity in the documentary -- that just came across as so crazily asinine!  (As an example, a gun lover talked about the possibility of Hamas going over to attack this rural American community!)      

On a positive note: it's an incredible achievement on the part of Auberi Edler that she managed to get the people in the documentary to seemingly forget that her camera was trained on them, and their every word being recorded.  To be sure, some of them did appear to be performing for the camera -- as well as an audience of their peers -- some of the time.  But more fool them, for thinking that they would be made to look good in this thoroughly thought-provoking work which, actually, lays waste to whatever myths and delusions of grandeur that Americans would ever have about themselves and their country, for the world to see!

 

My rating for this film: 8.5

Yalla Parkour is not your average sports documentary thanks in no small part to it being primarily set in Gaza (Film review)

 Areeb Zuaiter at a post-screening Q&A at the

Hong Kong International Film Festival 

Yalla Parkour (Sweden-Qatar-Saudi Arabia-Palestine, 2024)

- Areeb Zuaiter, director and scriptwriter

- Part of the HKIFF's Documentary Competition program 

In the past year or so, I've viewed a number of films about Palestine and Palestinians -- including The Dupes (1972) at last year's Hong Kong International Film Festival, Five Broken Cameras (2011) at last year's Hong Kong Asian Film Festival, and No Other Land (2024), shortly after it won the Best Documentary Oscar at this year's Academy Awards.  With its focus on parkour enthusiasts, Yalla Parkour might look like it'd be more lightweight than the other works.  But what with the situation in Palestine being what it is, and has been for years and decades now, this documentary offering does end up covering subject matter that is more serious and downbeat than what one would expect a work about an athletic activity to be.  

 

And this all the more so when one throws in the not insignificant matter of its filmmaker, Areeb Zuaiter, being the offspring of exiled Palestinians, one of whom is said to have lost her smile after never being able to see the sea off Palestine again in her lifetime.  Now living in the United States after time spent in Palestine, Saudi Arabia, Lebanon and Jordan, Areeb Zuaiter worried that she had lost her connection with Gaza upon the death of her mother before she gets to know Ahmed Matar, a young man whose videos show him and his friends executing parkour moves in various parts of the Gaza Strip.  

 

Communicating via phone and online conversations, Areeb and Ahmed talk about parkour, his friends, his family, the places that he and his friends play in and have converted into their playgrounds (which include a ruined airport, a still intact high rise building, a cemetery, and wall by the sea) and, also, her memories of Gaza and very different life thousands of miles away.  The first video of Ahmed's that Areeb came across on the internet was one that showed young men doing parkour against a backdrop of explosions/bombings.  By the time they first get to talking in 2015, one of the young men, Ahmed tells her, has already left Palestine.  

 

As Yalla Parkour unfolds, we learn that Ahmed aspires to do the same.  Therein lies an irony of this self-reflexive, sometimes wistful and, ultimately, bittersweet documentary: that it is made by a third culture kid who romanticizes her ties to, and memories of, Palestine but whose protagonist is a Palestinian whose videos of him and his friends at play clearly showed and revealed how damaged and ruined much of his homeland already was years before Israel went ahead and pulverized Gaza in retaliation after the events of October 7th, 2023. 

 

It might also be seen as pretty telling that Ahmed's chosen form of play -- one that involves traversing obstacles that come in many forms -- is fraught with very real dangers that can physically hurt and maim, even kill.  Some might see it as showing how cheap life can seem for Palestinians.  Alternatively, one can see Ahmed and his friends' love of parkour as a form of defiance: not just a dicing with death on their own terms but also a determination to overcome fear.  And a seeking of pure joy and genuine sense of accomplishments, not just reckless thrills, against the odds.

 

One of the best things Areeb Zuaitar has done with Yalla Parkour is give Ahmed a voice and platform -- and, also, show him, his friends and his family to be the kind of people who love life, have dreams, care for others and, well, are entirely human.  This may sound like damning the documentary with faint praise.  But in a world where there are folks who don't want to accept that Palestinians are fellow humans who deserve to live, and live freely and with dignity, this is no small accomplishment.    

 

My rating for this film: 7.0

The Wind (1928) blew me away upon my viewing it close to a century after its original year of release! (Film review)

  

Images of the 49th Hong Kong International Film Festival's

fest ambassador (Angela Leung) and filmmaker in focus (Louis Koo) 

abound in various parts of Hong Kong, particularly fest venues 

 

The Wind (U.S.A., 1928)

- Victor Sjöström, director

- Starring: Lillian Gish, Lars Hason, Montagu Love, Dorothy Cumming, Edward Earle

- Part of the HKIFF's Restored Classics program 

The Restored Classics program is one of my favourites of the Hong Kong International Film Festival.  Last year and the year before, Ernst Lubitsch's Kohlheisel's Daughters (Germany, 1920) and Lady Windermere's Fan (U.S.A., 1925) gave me a greater appreciation of the legendary filmmaker.  And this year, The Wind (U.S.A., 1928) has introduced me to Swedish pioneer filmmaker Victor Sjöström -- and given me an even greater appreciation of actress Lilian Gish, whom, thanks to the Hong Kong International Film Festival, I also got to view in recent years on a big screen in The Night of the Hunter (U.S.A., 1955).

 

The Wind marks the final silent film appearance of an actress who managed to make a successful transition to talkies and have a career that spanned 75 years.  Lillian Gish was in her mid 30s when this 1928 was made but she nonetheless is very convincing as a young, sheltered Southern belle who moves from Virginia to a section of the Wild West that's far windier than she, or most regular folks, can imagine.

 

Impoverished but genteel, Letty (Lillian Gish's character) goes to stay on a ranch with her cousin Beverly (played by Edward Earle) and his family.  Letty considers Beverly, who she refers to as "Bev" and is clearly fond of, to be like a brother.  But Beverly's jealous wife, Cora (essayed by Dorothy Cumming) is convinced that pretty Letty's trying to steal Beverly from her -- and gets even more upset when their three children seem to enjoy Letty's company more than their mother's.

 

Ironically, Beverly looks to be the only man who doesn't have eyes for Letty -- unlike Beverly's closest neighbours, Lige Hightower (portrayed by Lars Hanson) and a man known as Sourdough (played by William Orlamond), both of whom ask for her hand in marriage; and the rascally villain of the pic, cattle buyer Wirt Roddy (played by Montagu Love), who wants to get Letty into bed despite actually already having a wife of his own.  Pressured by Cora to get out from under Beverly's roof and get a man of her own, Letty agrees to marry Lige but their marriage appears doomed after Letty refuses to have it consummated; leaving Lige, who's actually a good man, albeit rough around the edges, feeling very disappointed, embittered even.

 

And then there's the wind.  Which can feel like the closest thing to a co-star in this film for Lillian Gish.  (By the way, The Wind is not a 100% silent film like, say, Yazujiro Ozu's I Was Born, But . . (Japan, 1932) -- in that it may have no dialogue but it sure has sound effects along with a musical score.  And it also has visible wind effects that are pretty strong, impressive and dramatic!)

 

Early on in the film, Letty is informed that the wind -- which can seem like it's being referred to with capital letters (i.e., as The Wind) -- can drive women insane.  And it does threaten to do just that to Letty -- not only because it blows so much dust into the houses and seems to throw it in chunks at the windows but because it howls like crazy, and can also produce cyclones and other strong winds that can rip tiles off roofs and even bring (parts of) structures down!

 

In summary: The wind in The Wind is amazing to behold; and so is Lillian Gish.  Both come across as formidable forces of nature that command the screen; and their performances (okay, "performance" in the case of The Wind) look to have stood the test of time, and definitely play big parts in this 1928 movie still being immensely watchable and entertaining close to 100 years after its original year of release!

 

My rating for this film: 8.0

A documentary entitled Never Too Late, and another showing his people's freedom came too late for its titular subject to enjoy! (Film reviews)

  

 People in focus (including director Rikki Choy (2nd from left),

producer Miney Ye (3rd from left) and main song singer 

Gigi Leung (on the far right) at Never Too Late's world premiere 

Never Too Late (Hong Kong, 2025)

- Rikki Choy, director

- Part of the HKIFF's Reality Bites program 

 

It used to be that one could look forward to quite a few films having their world premieres at the Hong Kong International Film Festival. This year, however, there are just six of them -- with even its Opening Films (including Chong Keat Aun's Pavane for an Infant) having had their world premieres elsewhere some months ago.  Still, I did catch at least one of them: Never Too Late; a fairly modest and very local documentary produced by Phoenix TV, whose major star power came by way of the song that plays as the end credits roll being performed by singer-actress Gigi Leung.

 

Never Too Late appears to be the feature film directorial debut of Rikki Choy -- and there are aspects of the work that one can't help but think would be handled better by someone with more experience and expertise.  At the same time though, its subject, Hong Kong's natural world and its biodiversity, is something she is familiar with (and looks to have a passion for), having been one of the directors of Phoenix TV’s Hong Kong Nature Stories documentary series.  And ditto re it being something that all of the four individuals whose stories are told in this feature length documentary care very much for in their own way.

 

Human Ip is an artist-poet who has become a farmer and lives in Lai Chi Wo.  Hidy Yu is a model with a love for the sea, who broke up with her partner because she was repulsed by his love for spearfishing.  Fun Hon-shing enjoys what he refers to as "wellness photography" in the wilds of Hong Kong (and is the director of a short film I viewed some time back on the Life (Cycle) of the Hong Kong Newt).  And then there's Anthony Choy, a property agent who likes observing, sketching and painting birds, flowers and many other natural subjects.

Commendably, Never Too Late doesn't shy away from showing such as the contradiction of Anthony Choy's working for a company whose projects could be said to intrude into, and even destroy, some natural habitats and Human Ip being in conflict with some of her neighbors in Lai Chi Wo over their perception and treatment of the feral cows that she loves but others find to be a big nuisance.  We also see that getting too close to nature can result in human pain and animal death.      

In fact, Never Too Late is actually less upbeat overall than its title might imply!  And is less, for want of a better word, propaganda-like than one might expect, given it having the support of official, including government, organizations. It additionally presents a more complex picture than may seem to be the case at first glance; with there being certain social undercurrents that aren't explicitly commented upon -- or are mentioned or alluded to only in passing -- yet are evidently there if you know where to look for them.  

 

In some ways, this mirrors one's experiences with the natural world in Hong Kong: in that, it's actually more pervasive and around you than many may realize; yet it does take a bit of digging, change of perspective and/or wandering and veering off the beaten path, in order to see of it!  Also, no, it's not perfect -- the natural world, Hong Kong itself and the film -- but, all in all, its existence still is worth appreciating. 

 

My rating for this film: 7.0

Ernest Cole: Lost and Found (U.S.A.-France, 2024)

- Raoul Peck, director-scriptwriter-producer

- LaKeith Stanfield, voice cast

 

There are two filmmakers who I know served as their countries' Minister of Cultures for a time.  They also happen to be filmmakers whose films I've been bowled over by.  I considered South Korea's Lee Chang-dong's Peppermint Candy (1999) and Oasis (2002) to be masterpieces.  I feel the same way about Haiti's Raoul Peck's Lumumba (2000) and I Am Not Your Negro (2016).  Thus it was that Raoul Peck being the director of Ernest Cole: Lost and Found was what got me determined to watch this documentary work; not my having any prior knowledge of its subject.  

The story of South African photographer Ernest Cole is one I found moving.  A pioneering black photographer who was born in 1940, he lived through Apartheid and documented it; then moved to New York City to try to escape from it, only to encounter difficulties there, lose his way and, eventually, lose his life -- sadly before Apartheid came to an end, so he never saw Nelson Mandela and his country free.

 

Ernest Cole: Lost and Found has interview footage of its titular character.  But we actually see far more of his photographs than his visage in the documentary.  Black and white photographs that show a cruelly segregated world; one where the whites were privileged and thoroughly aware of it, and the blacks oppressed in ways that look designed to break the spirit as well as hearts.

 

Ernest Cole left South Africa in 1966.  Having secreted his photographs of South Africa under Apartheid with him, he was able to publish House of Bondage: A South African Black Man Exposes in His Own Pictures and Words the Bitter Life of His Homeland Today.  Sadly, to judge by what I saw in the film, he never really was able to produce as good work outside of his home country as he did in it.  It seems that some of his work was lost; as was he.   

 

Perhaps not coincidentally, it feels like Ernest Cole: Lost and Found also lost its way somewhat midway through.  I consequently found the latter half of the film to not be as compelling as the first half.  Even the bombshell revelation late in the documentary that a collection of 60,000 negatives was found at a bank vault in Stockholm in 2017 and given to his heirs leaves more questions, and feelings of dissatisfaction than any sense of joy or relief.  

I must say though that the end dedication to people in exile everywhere emotionally impacted me quite a bit though -- as it got me thinking of exiled Hongkongers who left because they didn't feel they could be safe in their home city and/or chaffed at the injustice that exists in it, yet left their heart here even while they moved thousands of miles to try to make a new life in a different continent.

 

My rating for this film: 6.0

The 2025 Hong Kong International Film Festival has begun, along with my personal HKIFF-ing! (Film reviews)

  

At the Hong Kong premiere of one of the 2025 Hong Kong 

International Film Festival's Opening Films

 

Pavane for an Infant's lead actress Fish Liew and director 

Chong Keat Aun on stage before the screening
 

Pavane for an Infant (Malaysia-Hong Kong, 2024)

- Chong Keat Aun, director and scriptwriter

- Starring: Fish Liew, Natalie Hsu, Tan Mei Ling, Pearlly Chua, Ben Yuen 

- Part of the HKIFF's Gala Presentations program 

 

At the Hong Kong International Film Festival last year, Chong Keat Aun's Snow in Midsummer was named the winner of the Firebird award best film for young cinema competition (Chinese-language).  When speaking to a couple of Hong Kong filmmakers after one of its HKIFF screenings, I got the distinct sense that they were impressed by the Malaysian drama about one of the country's taboo subjects, the "race riots" that occured on May 13th, 1969.  

 

The impression that the Malaysian director's become quite the darling among Hong Kong film folk increased this year with the selection of his Pavane for an Infant as one of the Opening Films of this year's Hong Kong International Film Festival.  And with Chong Keat Aun's third film having a number of Hongkongers among its cast and crew (including actress Natalie Hsu and cinematographer Leung Ming-kai).    

 

Despite her making her name in Hong Kong cinema, lead actress Fish Liew actually hails from Malaysia.  But because she had to be in Hong Kong for so many years already, she reportedly struggled initially to get back to speaking Cantonese like a native Malaysian Cantonese speaker rather than a Hong Kong one!  And it's very much to her credit that she not only does this in Pavane for an Infant but, also, speaks too in Bahasa Malaysia, English and Mandarin; something that her character, a worker at a baby hatch who interacts with Malaysians of other ethnicities as well as her own does.

 

Lai Sum (portrayed by Fish Liew)'s colleagues include Malay women and her boss is a ethnic Chinese woman (essayed by Tan Mei Ling) who's a practicing Muslim.  Among the women seen using the baby hatch are an ethnic Indian Hindu woman as well as ethnic Chinese ones; and among the adoptees of the abandoned babies are a Malay Muslim family.  Chong Keat Aun's film further showcases Malaysia's multi-ethnic, -cultural and -religious society and beliefs by including such as a Minangkabau ceremony celebrating a new female addition to the matrilineal society, and a Taoist medium (played by Hong Kong actor Ben Yuen).

 

At one level, the female friendships and various other demonstrations of female solidarity that course through Pavane for an Infant paint a positive picture of Malaysian society.  On the other hand, the fact that there are so many abandoned babies that the existence of baby hatches have become institutionalised, even if still opposed by certain strands of society, is, of course, less so.  And most definitely when many of the abandoned babies -- and abortions spoken about in the film (which actually are illegal in Malaysia) -- come as a result of rape and such.

 

As such, this is another one of Chong Keat Aun's films that I get the feeling will only be allowed to be screened in his native Malaysia after a number of cuts are made by the censors.  Which is a pity as he actually addresses important, relevant social and cultural issues in sensitive and thought-provoking ways; even though, I must admit, I could do without the "magical realistic" stylistic touches -- along with leisured pace -- that he does seem to be fond of too! 

 

My rating for this film: 7.5 

The Invasion (The Netherlands-France-U.S.A., 2024)

-  Sergei Loznitsa, director and scriptwriter

- Part of the HKIFF's Auteurs program

 

Despite Ukraine not being listed among countries that co-produced this documentary film, it's the country that's the focus of it.  Ukranian filmmaker Sergei Loznitsa's also was shot entirely in the Eastern European country that has Russia invaded in February 2022 and is still very much a nation at war at the time of writing.

 

Unlike, say, Eastern Front, which I viewed at the 2023 Hong Kong International Film Festival, The Invasion doesn't have footage of battle.  But the war and enemy, and its effect on Ukranians, is very much apparent in this documentary which begins with an extended take of the funeral of a number of fallen soldiers that includes footage of their being mourned in a cathedral and, also, at Maidan Nezalezhnosti, Kyiv's Independence Square.

 

Over the course of the 145 documentary, a number of other funerals are also shown -- and, also, in long takes.  Sergei Loznitsa is obviously determined to show the sacrifices that Ukrainians have made for their country; ones that include the deaths of those who were the beloved spouses, parents, children of others, and respected and valued members of communities.  

 

At the same time, the Ukranians in The Invasion also are shown to be people who are determined to carry on with life even while living with death and destruction, the sound of war not far away and air raid warnings.  People -- soldiers but also civilians of different ages, ranging from elderly folk to young children -- also are seen observing happier ceremonies and times.

 

A cynic might say that The Invasion is a propaganda work, as it shows Ukranians to be enduring, and able to embrace life at a time when they and their country's survival are being threatened.  At the same time though, the price being paid is shown to be terribly high. And the fact that Ukraine has prevailed, is prevailing, more than three years on after Russia attacked and been attacking it, is something very much worth recording and witnessing.

 

My rating for this film: 7.5 

Hong Kong: Final Days of Freedom tries to keep the spotlight on Hong Kong (even) in 2024 (Film review)

  

Poster for a documentary, not anime

Hong Kong: Final Days of Freedom (U.S.A.-Hong Kong, 2024)

- Sean Fleck, director, writer and co-producer (with Alan Parks)

 

Back in 2020, Hong Kong protest documentary short Anders Hammer's Do Not Split was nominated for an Oscar.  One year later, Kiwi Chow's Revolution of Our Times had its world premiere at the Cannes film festival.  Five years on from the anti-extradition bill-turned-pro-democracy protests that captured the world's attention, films continue to be made about Hong Kong and its protest movement.  And while I've not managed to view James Leong's If We Burn (2023) and the anonymously made She's In Jail (2024), about imprisoned lawyer-activist Chow Hang-tung, I've managed to view Hong Kong: Final Days of Freedom here in Hong Kong.

 

Made by American documentary filmmaker Sean Fleck, Hong Kong: Final Days of Freedom is so newly made that it includes information about the passing of Article 23 into law, something which took place barely two months ago.  Incredibly, the pretty comprehensive work also has some coverage of such as the Article 23 protests of 2003, the National Education protests of 2012, the Occupy phase of the Umbrella Movement in 2014, the bookseller abductions of 2015 and Causeway Books' Lam Wing-kee's post-escape revelations before getting to its main subject matter: the 2019 protests and what's happened to, and in, Hong Kong since.

 

Although its poster may make it seem otherwise, Hong Kong: Final Days of Freedom is a seriously legit work that takes a far from cartoony approach to Hong Kong, and the anti-extradition bill-turned-pro-democracy protests that raged on the streets for much of 2019 and into 2020 before Covid (then known as Wuhan coronavirus) woes got Hongkongers fixating on the pandemic over protests.  Witness, for example, its coverage of the peaceful -- and very large number of -- Hong Kong protestors (known as the wo lei fei who were "peaceful, rational and non-violent") as well as the frontline protestors known as "the braves" (that such as Do Not Split had focused -- I'd even say fixated -- on).

Hong Kong: Final Days of Freedom also includes interview footage with a number of political personalities like exiled dissidents Frances Hui, Joey Siu, Samuel Chu and Jeffrey Ngo --  and Lee Cheuk-yan, a Tiananmen Square Massacre survivor and former trade unionist, activist and politician who's been behind bars ever since he was arrested and denied bail on February 28th, 2021.  By the way, it was somewhat disconcerting to see the senior man in the documentary -- especially those sections of it that spoke in what might be termed "the ethnographic present" -- since he's not appeared in public (excluding his court appearances) for more than three years now.

 

Hong Kong: Final Days of Freedom also has interviews with a number of Hong Kong protestors whose faces and actual names are not revealed.  This is understandable since those people were taking a risk by appearing in this documentary -- even if they were only providing personal accounts and factual information about the pro-democracy protests.  (And, frankly, I'm also possibly putting myself at risk/in danger by revealing that I've seen the film and in reviewing it.  Such is the state of -- and life in -- national security era Hong Kong!)

Sean Fleck's documentary additionally contains interviews with a number of American politicians (including Republicans Mike Gallagher and Michelle Steel but also Democrats Raja Krishnomoorthi and Jake Auchincloss).  Although they come from, and represent, both sides of the ideological aisle, my sense is that this might weaken whatever messages that Hong Kong: Final Days of Freedom seeks to make -- on account of the documentary being perceived as (primarily/wholely) targeted to Americans.

 

This is a pity since I actually think that Hong Kong: Final Days of Freedom tries hard to be even-handed even while also being largely on the side of pro-demcracy Hong Kongers; something the way it chooses to conclude makes pretty clear.  Also, the quote from George Orwell's 1984 that the work chooses to open with it is says so much: i.e., "The party told you to reject the evidence of your eyes and ears.  It is their final, most essential command"; this all the more so due to it having been superimposed over a Maoist propaganda poster!

My rating for this film: 7.5

Tatami is a very suspenseful and watchable mix of sports and politics (Film review)

  

Face to Face with Zar Amir at the 2024

Hong Kong International Film Festival :) 

 

Tatami (Georgia-U.S.A., 2023)

- Guy Nattiv (who co-scripted with Elham Erfani) and Zar Amir, co-directors

- Starring: Arienne Mandi, Zar Amir, Jaime Ray Newman, Nadine Marshall

- Part of the Hong Kong International Film Festival's Cinephile Paradise program

 

As I write this, the Georgian capital of Tblisi is in the news as it is rocked by mass protests by the country's citizenry against its government.  In Tatami, however, it is a politically neutral space which is playing host to a World Judo Championships that Iranian judoka Leila Hosseini (played by Arienne Mandi) aspires to win, even if this means her going up and defeating a friend who also is a sporting rival in Israeli judoka Shani Lavi (essayed by Lir Katz).

 

As those familiar with Middle East politics will know though, Iranian hardliners would not countenance the idea of someone from their country appearing next to someone from Israel in public.  So when a genuine possibility arises of Leila and Shani coming together in an upcoming round of the competition, pressure gets put on Leila from the Iranian regime to either pull out of the championship by faking an injury or deliberately losing to an opponent in an early round.

 

A true sportswoman (who cares far more about sport than politics, and for whom it's anathema to throw a match), Leila refuses to do so.  In so doing, she directly defies her long time coach (and former judo champion), Maryam (portrayed by Zar Amir), as well as Iranian government officials who have commanded Maryam to get her charge to do what they want.  And because the order to withdraw comes from the very top, this act of disobedience and defiance puts Leila and Maryam -- and perhaps even more so since they're in Iran: Leila's husband (played by Ash Goldeh), young son and parents, and Maryam's family -- in grave danger.

 

Based on and inspired by true occurences and events, Tatami is a nail-bitingly suspenseful drama with a a great story to tell.  It also is a very watchable sports actioner with emotionally gripping judo scenes that must have demanded much physically from its actresses, and are excitingly lensed (in black andd white -- a decision Zar Amir explained as wanting to emphasize the black-and-white view of the world held by the Iranian regime, and black and white outfits of the competing judoka -- by Todd Martin) and dynamically edited (by Yuval Orr).  

 

As improbable as it might sound, Tatami got this (re)viewer caring about whether Leila would win every single one of the judo bouts we see her compete in -- often utterly ferociously, like she was fighting for her very life on the tatami -- as well as whether she and her family, and also Maryam (who one can sees does care very much for Leila as an athlete as well as Leila as a person, and for Leila's and her own safety), will somehow be able to escape the wrath and/or grasps of the ayatollahs.  It helps that Arienne Mandi put in such a winning performance; ditto Zee Avi, whose character was more difficult to champion and like while even more conflicted.

 

More than by the way, Zar Amir not only co-starred and -directed but also was in charge of Tatami's casting and is one of the film's co-producers.  I think it also worth noting -- and I'm sure had some impact on the production -- that she knows what it's like to have incurred the anger of the Iranian authorities.  More specifically, she was banned from appearing in films and TV for 10 years, and sentenced to  to 99 lashes with a leather strap, by the Iranian court -- and only avoided these penalties by fleeing Iran.  She has lived in France since 2008.     

 

My rating for the film: 9.0

Nocturnes is an aesthetic treat as well as informative introduction to the world of hawk moth field research (Film review)

  

Hong Kong International Film Festival 

advertisement on a tram

 

Nocturnes (India-U.S.A., 2024)

- Anirban Dutta and Anupama Srinivasan, co-directors

- Part of the Hong Kong International Film Festival's Reality Bites program

 

A few days before this year's Hong Kong International Film Festival got going, a friend and I were telling each other about which offerings we had got tickets for.  Upon doing so, he casually remarked that he was surprised that, given my love of critter spottings (including of butterflies and moths) while out hiking in Hong Kong, I didn't have Anirban Dutta and Anupama Srinivisan's Nocturnes on my list. 

After he did that, I went and checked out the synopsis for it in the HKIFF program booklet -- and determined that this documentary about research conducted in the forest of the Eastern Himalayas into the hawk moth of Arunachal Pradesh did indeed sound right up my alley.  At the same time, I still was very pleasantly surprised that Nocturnes turned out to be such an aesthetic treat even while also imparting information on such as the size and look of the hawk moth, the elevations at which it can be found, and how climate change can and will affect the life of the species. 

Mansi Mungee is an ecologist whom the filmmakers at a "food joint" in the Himalayas, where they had gone to make a film on snow leopard habitats.  When she told them about how her research involved going at night to set up moth screens on which hundreds, even thousands, of insects are attracted to when light is shone on it, they decided to capture this nocturnal scenes and enterprise on film (with the help of cinematographer Satya Rai Nagpaul).  And also install multiple mics to record not only the conversation of Mansi and her assistants (all of them indigenous individuals local to the area -- the chief of whom is Bicki, from the Bugun community) as they meticulously and patiently carry out their rigorous work but also the sounds of the forest that include the flapping of the wings of the moths and other insects in the film.

This results in Nocturne being an impressively immersive and textured work that encourages and rewards those viewers happy to look and listen at what nature is willing to reveal. At the same time, I think the documentary also gets its viewers appreciating and enjoying the dedication and passion of the chief human in the picture, and feel privileged to be privy to the academic discussions Mansi has with her mentor (Ramana Athrey) as well as the bonding and humanising chats she has with her obliging assistants.  

 

On a lingustic note: Hindi and Bugun is spoken in the film but the documentary's primary language is English.  Much of Nocturnes is dialogue-less though.  And while this might bother some people unused to this -- and get them feeling that time drags as a result -- there are others who will feel that it makes for a meditative viewing experience that actually works out to both relaxing and stimulating -- and generally very satisfying indeed.  So much so, in fact, that I think I would have been happy for this 82 minute length work to have had a running time that was closer to 100 minutes! :)

My rating for this film: 8.0

They Shot the Piano Player compares favourably to a number of Oscar-winning works! (Film review)

 

My life in Hong Kong: film festing, and way too ubiquitous 

police presence (See the police van on the 

other side of the road from the HKIFF advertising?) :S

They Shot the Piano Player (Spain-France-The Netherlands-Portugal-Peru-U.K., 2023)

- Fernando Treuba (who's also wrote the script) and Javier Mariscal, directors

- Voice actors: Jeff Goldblum, Tony Ramos, Abel Ayala, Roberta Wallach

- Part of the Hong Kong International Film Fetival's Animation Unlimited program 

 

The last animated movie I viewed prior to viewing this multinational offering was Hayao Miyazaki's The Boy and the Heron (Japan, 2023).  I realise it's unfair to compare these two very different cinematic offerings -- but if I did so, I'd say that I actually liked They Shot the Piano Player better, and am surprised that it didn't even get nominated for the Animated Feature Film Oscar that the Studio Ghibli production won this year.

 

Speaking of Oscar nominated animated works: Persepolis (France-U.S., 2007) is one of three works I got to thinking of when viewing They Shot the Piano Player; with the other two being the non-animated Academy Award winners Searching for Sugar Man (2012) and Missing (1982).  For like Vincent Paronnaud and Marjane Satrapi's work about a girl growing up in Islamic Revolution-era Iran, this offering from Fernando Teruba and Javier Mariscal is an animated docudrama -- in the latter case, about an American journalist trying to figure out what happened to a musical hero who appeared to have vanished into thin air, a la Searching the Sugar Man's Sixto Rodriguez, in a foreign, South American country similar to the fictional one that's the setting for Costa-Gavras' Missing.

 

It's 2010 and New York music journalist Jeff Harris (voiced by Jeff Goldblum) is planning on writing a book about the Brazilian bossa nova craze of the 1960s.  Early on in his research, he comes across a recording featuring the piano playing of Francisco Tenório Júnior and determines to learn more about this Brazilian musical talent.  

 

On research trips to Brazil, Jeff interviews illustrious Brazilian bossa nova musicians like Gilberto Gil, João Donato and Chico Buarque (voicing themselves in the movie) about their music, and memories of Tenório Júnior.  At some point, he changes the subject of his planned book to the piano player whose music, life and mysterious disappearance back in 1976 he has become well nigh obsessed with.  And eventually, he is able to piece together the tragic story of a much beloved musician and man who went missing while on tour in then dictator-ruled Argentina -- leaving behind a wife, children, mistress and many friends mourning his disappearance from their lives.

 

At one level, They Shot the Piano Player is a enthralling dramatic investigation into what happened to a piano player who look to have unwittingly got involved in South American politics, to his great detriment.  At another, it's a chilling indictment of totalitarian regimes and their state terrorism -- which, in South America, led, among other tragedies, to the "disappearance" tens of thousands of people, many, if not all, of them innocents.  At the same time, it's also a beautifully hand-drawn work that's a thoroughly affecting celebration of bossa nova, and the life of Tenório Júnior.

 

It is very much to its makers' credit that they attempted to do so much, and succeeded in doing so.  A feast for the eyes and ears, this work -- which also happens to be tri-lingual (English, Portuguese and Spanish) -- is also heart-breaking and heart-warming at different parts of its story -- which, it is worth emphasizing, is, at heart, non-fiction. (The fictional bit comes from the man who became obsessed with the story of Tenório Júnior -- so much so that he kept at it for some two decades! -- being not Jeff Harris but the film's co-director and scriptwriter, Fernando Trueba -- and instead of writing a book about the Brazilian musician, he made They Shot the Piano Player!)

My rating for this film: 9.0