Whispers in the Woods shows how precious and beautiful sightings of truly wildlife can be (Film review)

  

The kind of poster that makes me want to watch 

the documentary film it's for! :)

 

Whispers in the Woods (France, 2025) 

- Vincent Mournier, director, cinematographer (with Laurent Joffrion and Antoine Lavorel) and co-producer (with four others) 

- Part of the HKIFF's Documentary Competition program 

 

When I saw the poster for Whispers in the Woods, I got to thinking of Ildikó Enyedi's On Body and Soul (2017), a magical film with beautiful imagery involving a stag and a doe.  Ironically, I viewed Vincent Mournier's documentary less than 24 hours after viewing Enyedi's latest offering and found myself comparing it very favorably against Silent Friend! 

 

In fairness, Whispers in the Woods and Silent Friend are two very different works; not least since the former is a wildlife documentary and the latter a fictional work with flora as well as human characters.  This being said, I must say that I found myself far more mesmerised by Mournier's work than Enyedi's and also came away with a far greater appreciation of the wonders of nature too.

 

A personal offering that has him both in front of and behind the camera as well as directing and co-producing, Whispers in the Woods shows three generations of his family -- celebrated wildlife photographer Vincent himself, his father, Michel, and his teen-aged son, Simon -- sharing their love of nature, particularly the creatures, great and small, that dwell in the verdant forests of the Vosges in France, and how to look and listen for these wild things.          

 

At home out in the woods like the wildlife whose presence they very much appreciate catching precious sightings and sounds of, the Mourniers' respect for nature is a great contrast to such as the cruel shooters of elephants seen in Werner Herzog's Ghost Elephants (another nature documentary viewed at this year's Hong Kong International Film Festival).  Recalling Herzog's offering once more: the Mourniers' uncanny ability to track down the wildlife that captivate them seems comparable to that of the expert trackers enlisted to look for the elusive eponymous elephants of that set-in-Africa documentary.

 

One evening in their cabin in the woods, Simon asks his grandfather what's his favourite wildlife spotting he's made.  Understandably, Michel has to pause to think before answering that it was when he spotted a capercaillie in the mist that appeared to him like a ghostly apparition.  Later, when it is revealed that this member of the grouse tribe is now extinct in France, the (re)viewer realizes how rare and precious this sighting this was; hence it being more treasured than sublime sights such as a doe, its young and a stag tranquilly crossing a silver-tinged river that the Mourniers share with the viewers of Whispers in the Woods.  

 

Deciding that he would like his grandson to also have the experience of catching sight of a capercaillie, Michel decides to take Simon -- with Vincent going along too -- on a winter journey to Norway, where these non-migratory sedentary birds still are to be found.  It is a measure of how much they value their nature experiences that they are prepared to journey that far away from home and spend time out in snowy cold conditions to glimpse these rare birds.  And it is a measure of how successful the people behind Whispers in the Woods are at communicating the pricelessness of such experiences that this documentary's viewers will find it is perfectly understandable that the Mourniers would want to do so.

 

My rating for this film: 9. 

The alternative Silent Friend gets one looking at plants in different ways! (Film review)

 

The Hong Kong International Film Festival screening of 

Silent Friend that I attended had a post-screening Q&A

with its Hungarian director and Hong Kong star 

 

A more close-up shot of Tony Leung Chiu-wai and Ildikó Enyedi
 

Silent Friend (Germany-Hungary-France, 2025)

- Ildikó Enyedi, director and co-scriptwriter (with Tina Kaiser and Corinne Le Hong)

- Starring: Tony Leung Chiu-wai,  Luna Wedler, Enzo Brumm

- Part of the HKIFF's Galas program 

 

My paternal grandmother was a vegetarian while her husband was not. At a family dinner one day, after she tut-tutted over my grandfather enjoying eating meat, he asked her: "How do you know plants don't have feelings too?  They are living things too, after all!"    

 

For some reason, that conversation stuck with me all these years.  And I got to thinking about it again while viewing Silent Friend, Ildikó Enyedi's mystical-leaning film in which various plants prominently feature and (even) get mentioned in the end credits alongside the cinematic offering's human cast and crew.  This not least because I could imagine this alternative movie's director or at least one of the main human characters in this rather fanciful movie sharing my grandfather's views about flora!

 

Set on a Germany university's leafy campus, Silent Friend tells the story of a trio of individuals who share the same space at various points in time -- not with each other but a giant gingko tree that is lovingly lensed (and turns out to even have some "stunt doubles"!).  Tony Leung Chiu-wai (in his first ever European film appearance) plays his namesake, a Hong Kong neuroscientist who finds himself locked down on a near empty campus in the lockdown days of the Covid pandemic. Unable to work with his usual research subjects (human babies), he decides to conduct his research on brainwaves on a gingko tree -- and, in the process, attracts the attention and suspicion of a stranger (played by Sylvester Groth) who literally as well as metaphorically doesn't speak his language.

 

Although Tony does talk (including via video calls) to other humans (including a fellow scientist essayed by Léa Seydoux) from time to time, he seems on the introverted side.  This also is the case with Hannes (played by Enzo Brumm), a student at the same university in the segment of Silent Friend that is set in 1972.  And while he, too, encounters the gingko tree that Tony conducts experiments on, the plant that Hannes actually spends more time with -- and conducts his own experiments on, with truly startling results! -- is a potted geranium that belongs to his housemate-crush.

 

If truth be told, the section of Silent Friend that was set in 2020 seemed over indulgent at times while Hannes came across as rather weedy and was the least compelling to me of the film's three main human characters.  In contrast, I was consistently absorbed by the section of the movie that was set in 1908 and is centered on the first female student accepted into the university's biology department. 

 

Grete (portrayed by Luna Wedler, whose performance won the Marcello Mastrioanno award for Best Young Actor or Actress at the 2025 Venice Film Festival) impresses in an early scene when she is questioned by a sexist old male professor intent on humiliating her.  But it is after she takes on a job (in return for room and board) with a photographer and learns to use a camera that she truly blooms.  (I wouldn't be surprised if the decision to have this section of Silent Friend be in black and white came out of the photographs she shoots looking more arresting in black and white than colour.)

 

I don't think it'll surprise when I state that the best, downright exhilarating scenes in Silent Friend involve the humans in the presence of plants.  What may be a bit more unexpected though is my thinking that there actually is more than one silent friend in this movie; and that while they are indeed plants in the 2020 and 1972 sections, it seemed to me that in the 1908 section, Grete's silent friend may well have been her camera (which allows her to see and depict plants, and herself too, in new, creative ways)?!

 

My rating for this film: 6. 

Two very different documentaries viewed at the 2026 Hong Kong International Film Festival (Film reviews)

  

Advertising for the 50th Hong Kong 

International Film Festival seen around town

 

Ghost Elephants (USA, 2025)

- Werner Herzog, director-scriptwriter 

- Part of the HKIFF's The Masters program 

 

Some years ago, I was talking to a film programmer about what films are fine to be viewed on a small screen and what needs to be seen on a big one.  At the time, I thought that documentaries and domestic dramas didn't lose as much when viewed on home video than blockbuster epics.  He begged to differ, stating that all films have are best seen on a big screen since that's where they were made to be screened by filmmakers.

 

Over the years, I came to his way of thinking.  And particularly appreciate it when I get to view a film on the truly big screen at the Hong Kong Cultural Centre's 1,734-seater Grand Theatre -- as was the case with Werner Herzog's documentary about the epic journey undertaken in search of an elusive herd of elephants in Angola's hauntingly beautiful as well as ecologically very important Bié (aka Central) Plateau.

 

As is expected of a work by Herzog, Ghost Elephants is not a conventional documentary.  (Though having said this, as a friend noted, it is one of the veteran German auteur's more conventional offerings.)  This particularly so in his injecting and emphasising mystical elements -- by way of the San people (popularly referred to as "Bushmen") whose tracking skills can seem close to supernatural and also a local king's recounting of an ancestral legend involving an elephant that shed its skin -- to his documentation of what's effectively a scientific expedition led by zoologist-conservationist Dr Steve Boyes in search of what could well be currently the largest land animals on the planet and maybe even a previously undocumented elephant sub-species.

 

Something that can be endearing about Herzog is how so much seems to fascinate him.  In Ghost Elephants, it's not just the titular subjects but those who go in search of it, and the peoples of the foreign land that he encounters along the way.  And while the sight of the elephants are hard to ignore when they appear on screen, the Bié plateau along with other views of the African landscape are exquisitely filmed too, and come across as characters in their own right with parts to play in the story being told.

 

Speaking of story: along with the documentation of a magnificent scientific obsession (on the part of Steve Boyes) and the wonders of nature, Ghost Elephants also tell of humans' inhumanity in the treatment of Mother Nature; pointing out that casualties of Angola's so-called "civil war" included wildlife as well humans, and showing archival footage of a 1960s-era elephant hunt that involved shooting at them from a helicopter.  

 

Which has me thinking it's a curious, and lamentable, omission on Herzog's part that he didn't mention in the documentary that the Bié plateau was, as per the Wikipedia entry on it, "deeply affected by slavery, with estimates of as much as half the local population being enslaved in the mid-1800s".  Perhaps it will be the subject of a follow-up work from the filmmaker?  Though, to judge from what one sees in the film, the chances are higher that he will return to Africa to make a work focused on the San people, who he confessed out loud in Ghost Elephants to finding it hard to not over-romanticise!

 

My rating for the film: 7.0 

 

Do You Love Me (Lebanon-France-Germany, 2025) 

- Lana Daher, director and co-scriptwriter (along with Qutaiba Barhamji)

- Part of the HKIFF's Reality Bites program 

 

In the first few minutes of her documentary, Lebanese filmmaker Lana Daher explictly informs the audience of Do You Love Me that this work will not show events taking place in chronological order and that the effect may be disorientating -- but if so, it's on purpose.  What she didn't state in the work itself -- but I think should be clear by way of a look at the offering's title -- is that this also is a film that works best if the viewer engages with it emotionally as well as intellectually.

 

Clearly a labour of love by someone who loves Lebanon, Do You Love Me presents a history of a nation with no national archive by selecting from, and splicing, images and sounds from more than 20,000 hours of audiovisual footage spanning some 70 years.  Seven years in the making, this 75 minute work incorporates news and feature film clips, TV programmes, home videos, personal photographs in an initially dizzying and altogether ingenious way.

 

Through the eyes, ears and work of Lebanese people of various ethnicities, religions, ages and so on, we see the country's complexity, beauty, problems, horrors and humanity.  Viewers are treated to scenes of everyday life, scenes of violence, and even scenes of violence that, tragically, have become everyday.  (And yes, I am aware of what's happening to, and in, Lebanon currently.  Which makes it all the more important that Do You Love Me was made, and bittersweet to view.)

 

Like it does in the country of some 5 million people, Beirut -- where approximately half of the people live -- looms large in the film.  Director Daher does not hide that this city that's the 16th largest in the Arab world is socioculturally divided along religious lines but also shows both the Christian and Muslim sides, in joyous as well as unhappy scenes, and always with humanity.

 

Although it effectively begins with scenes of the sea, it's the sense of humanity that overwhelmingly courses through Do You Love Me.  Mesmerising and increasingly hypnotic, the choices of visuals and music are masterful.  And while I admittedly came away from this work still not knowing enough of Lebanon to love it, I must say that I do feel that I learnt enough to respect the people of Lebanon and feel that they deserve better, including more peaceful and good times than they are currently facing as well as have faced over the years and decades.  

 

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

Just two days into 2024 and I already worry that it won't be a happy new year!

I like the color of these flowers I spotted on a hike

yesterday (New Year's Day, 2024)

 

It's just the second day of the new year and I don't want to be a kill joy but I worry that 2024 may be worse than 2023.  Some portends that are not good: the killing of Palestinian civilians continuing on New Year's Day; ditto the war in Ukraine caused by Russia's invasion in February 2022; ditto the civil war in Myanmar which massively escalated in May 2021; etc. And to add to it, there being a massive earthquake in the Noto Peninsula of Ishikawa Prefecture in Japan yesterday -- though, thankfully, all tsunami warnings issued in association with it have now been lifted.

 

And then there's Hong Kong where, as per an RTHK report: "Safeguarding national security will continue to be Hong Kong's top priority, Chief Secretary Eric Chan said on Monday [i.e., New Year's Day], as he vowed to complete work for Basic Law Article 23 security legislation within this year."

 

A reminder: China imposed a national security law on Hong Kong on June 30th, 2020, which remains very much in effect and has sowed so much fear along with actual political persecution in the city. Basic Law Article 23 would effectively be Hong Kong's domestic version of a national security law -- one which has been opposed for decades by Hongkongers. Indeed, back on July 1st, 2003, over 500,000 people took part in a protest march against it -- and in the aftermath, the then Chief Executive of Hong Kong, Tung Chi-wah, felt obliged to resign, as did the then Security Chief, one Regina Ip.

 

Back to yesterday's RTHK piece: "On social media, Chan said the upcoming legislation, together with the existing national security law, will more effectively prevent, stop and punish acts endangering national security." So... Chan thinks Hong Kong is still not... secure?! (In other words: Hong Kong is still not back (to normal)? Re that last bit: if so, he and I are in agreement; albeit for different reasons!) 

 

Another bit from that piece: "Meanwhile, the number of visitors to Hong Kong topped 30 million in the first 11 months of last year, Chan said, adding that the government will continue to hold different international events and drive the local economy." 

 

While at first glance, that sounds impressive, do bear in mind though that that's still just around half of the number of visitors attracted to Hong Kong in 2018; and that the vast majority of Hong Kong's visitors, then but especially now, are from Mainland China rather than the rest of the world. So I really am not so sure how valid Hong Kong's description of itself as "Asia's World City" is anymore.

 

One more quote from the RTHK piece: "He also called on new district councillors to respond to people's urgent needs and concerns." Note: That would the new district councillors who gained seats in the District Council "election" last month which only 27.5% of registered voters decided to take part in -- as opposed to 71.2% for the 2019 District Council election -- for whatever reason (e.g., they couldn't be bothered to take part in something they considered a sham, couldn't find any candidate they actually believed would help them/Hong Kong, etc.)

 

So... happy new year? I would love for it to be so. But I already worry. And I think I have good reason to.  Still, if I were to look for a good portend: yesterday saw Hong Kong beat China 2-1 in a football match; the first time Hong Kong's footballers recorded a victory over China's in 29 years (or is it 38? -- in any case, it's a pretty historic victory!)  And granted that China had two players sent off (and an assistant coach) over the course of the game -- so were handicapped by having two players fewer than Hong Kong for part of the game.  But in some ways, that makes the whole thing even more hilarious (and yes, it's indeed good to have something to laugh about -- and so early into 2024 too)! :)

An out-of-season visit to Akita Prefecture's Tazawako (Photo-essay)

With a depth of 423 metres (1,388 ft), Tazawako (Lake Tazawa) is Japan's deepest lake. A caldera lake that's not had much development around it (which makes it pretty rural -- and pretty, period!), it's nonetheless reachable by public transportation; albeit with the catch that service there is not super frequent; so timing is of the essence to get there (and out of there)!

Also, if you go to Tazawako out of season (i.e., not in the summer months), there's really not too much that's open or to do there.  That is, if one is not on an organized tour, one can either go on a sightseeing boat that goes around the lake (which runs only once every 2 hours!) or rent a bicycle to ride around the lake.  And while the latter could be a nice option in fine weather, the former's really the one thing to do there on a day where rain was predicted!

 

Thus it was that after we go to the lake shore, all but one of the bus passengers who disembarked at the Tawazako stop ran up to a nearby hut where a woman was selling tickets for a sightseeing boat ride around the lake. Seconds after I got on, the boat took off -- leaving just one person on the shore, looking perplexed at what had happened. As it so happens, that person was the one non-Asian passenger on the bus I had been on.  Unlike the rest of us -- who numbered less than a dozen -- it seemed he hadn't got the complete memo about the place; something which I hope readers of this blog post now will make sure to do prior to going to a locale that's far more off the beaten track than even I had realized before venturing there! :D

 

 
Puppet Ponyo and the ONE Tazawako sightseeing boat in operation 

the morning I was there (Also, this is a post-trip pic as I was 

too much in a hurry to get on the boat to take a pre-trip pic!)

 

The view encompassing the now distant shore that I had 

boarded the  sightseeing boat seconds after getting on it!

 

The water at the Goza no Ishi Jinja side of Tazawako

was an incredibly bright, almost unnatural blue!

 

At the western end of Tazawako, what first caught my eye 

was the tree on the side of the lake with red leaves on it...

 

But, actually, what this section of Tazawako is famous for is 

the golden statue of Tatsuko, a local beauty who, legend has it, 

got cursed and turned into a dragon after drinking water from the lake! 

 

Imagine how this was look during the height of koyo season...

 

Still, it's not like I didn't see much beauty on my visit to Tazawako! :)
 

Au revoir, Tazawako, its swan boats and all. (And yes, 

there really not being that many other people around when

I was there made the experience feel all the more precious!) :)

Enjoying views of the sunrise from my hotel room in Morioka (Photo-essay)

I'm not a morning person -- but I woke up early enough to see the sunrise on my first morning in Morioka.  To get an idea of how rare an occurence this is: the last time before this that I saw a sunrise was from the top of Jeju's Seongsan Ilchulbong back in late 2018!  Also, as far as I can recall, I have never seen a sunrise in Hong Kong!

The reason I got to see the sunrise in Morioka was because I had planned an early start to my day of sightseeing -- due to the weather forecast, which is amazingly accurate in Japan, being for it to rain in the afternoon (but not the morning) and my plan for the day involved going out on a lake -- Japan's deepest, in fact!  More on that lake later. In the meantime, enjoy the beautiful sunrise views that I managed to catch without having to leave my hotel room!

 

Not at all a bad sight to wake up to and 

get to view from one's hotel room, huh? :)

 

Another part of the same sky that was less bright

 

Meanwhile, another section of the sky was in between 

in brightness between the two previously highlighted!

 

As it got brighter, the buildings ceased to be

silhouettes and became more visible

 

Spider looking like it's floating in the sky ;b

 

The section of sky looking like it was ablaze...

 

A question for those who read this: can you

tell that this is a sunrise, not a sunset?

 

Last photo before I stopped gawping at the sunrise

and went to get ready for that day's excursion :)

Red leaves and more in Morioka, the first stop in Tohoku on my most recent Japan trip (Photo-essay)

I walked by a few trees in Victoria Park this afternoon with red leaves on them.  This being Hong Kong though, it's possible that the leaves were red because they were young rather than because it's a sign that autumn is here.  And even while there are places in Hong Kong where one can see seasonal red leaves, the ratio of humans to red leaves can leave me cold -- unlike when I was over in Morioka last month!

The prefectural capital of Iwate was where the shinkansen (on which I had had the amazing 30 ingredient ekiben!) took me.  Being some 3.5 hours up north from Tokyo even on the super fast train, I found the temperatures noticeably cooler there than in the Japanese capital, never mind Hong Kong -- and the red leaves of autumn evident in many parts of the town/city, including from my hotel room window as well at the old castle grounds in Morioka which has been conveted into a public park known both as Iwate Park and Morioka Castle Ruins Park.

All this made for some nice visuals -- and quite the change from the previous time I had been up in Tohoku: back in May 2019, when I was pleasantly surprised to come across still blossoming sakura (in Sendai and Hiraizumi).  And while I know there are people who go gaga over sakura, I must say that I adore the sight of koyo (autumn leaves) -- and catching sight of some of them on this recent Japan visit was a nice bonus; something which I didn't really expect to do in view of the leaves of the trees at Shinjuku Gyoen that I viewed on the same trip (and, in fact, just the day before!) having been pretty green for the most part! :)      

 

View of red leaves (and pink sky courtesy of a sunrise)  

from my Morioka hotel window :)

Red leaves at Tawazako (teaser for a future blog post!)

 

Puppet Ponyo and some trees 

with a few red leaves at Iwate Park

 

A nice mix of red and green leaves

 

What a sight this tree would be at the height of the koya season!

 

Some red leaves and really high castle walls!

 

What look to be old castle stones -- 

laid out for a rebuilding project?

 

A stream ran through the old castle/current park grounds

-- and this was one of a two ducks I spotted paddling in it :)

Sharing memories of Shinjuku Gyoen on a day when confirmation came that Hong Kongers aren't completely safe even when in Japan (Photo-essay)

On my recent visit to Japan, I met with Japanese friends who lived for a time in Hong Kong.  One of them told me he doubted he would ever return; because news like the arrest of a Hong Konger arrested for social media posts she made in Japan (where she had been studying) as well as Hong Kong had got him spooked.  After the news today that Yuen Ching-ting was sentenced to two months in prison for Facebook and Instagram posts with messages such as “I am a Hongkonger; I advocate for Hong Kong independence,” and “as long as the Chinese Communist Party exists, how can there be a home?”, I'm sure his resolve to stay away from Hong Kong has strengthened. 

 

And so, as he stated, it would seem that our best bet to meet up again involves my visiting Japan again.  Something which I definitely hope to do again before too long.  Because, frankly, this recent Japan trip was like a breath of fresh air; not just because the air was indeed fresh and weather wonderful for much of my trip but because I very much enjoyed the feeling of not being in a police state for a time. 

 

With this in mind, I'm determined to post about my Japan trip over the next few weeks... to keep the good mood that being in Japan engendered and the memories of the trip help to keep alive.  With this in mind,  here's sharing the following photos of a visit to Shinjuku Gyoen National Garden; a locale that I had actually intended to spend time in on the last day of my previous visit to Tokyo back in 2019; only for rain to lay waste to my plans!  Maybe the visit being delayed for some 4 and a half years made me appreciate the place more.  In any case, yes, I really did love this former imperial garden that has a French Formal Garden and English Traditional Garden as well as Japanese Traditional Garden components!

 

Shinjuku Gyoen is a veritable oasis in the concrete jungle

 

Of course Puppet Ponyo went with me to Japan again! :)

 

Nature, including the cultivated kind, really can be so very beautiful

 

I was not the only one walking around 

taking pictures with a camera in the park :)

 

Can you sense how relaxed people were (in this photo

in particular and the garden in general)?

 

Humans weren't the only critters out for a stroll in Shinjuku Gyoen ;b

 

In Shinjuku Gyoen, I learnt that there are roses named

after a now defunct American newspaper!

 

All in all, I spent some 2 and half hours in this gorgeous garden

-- and consider that time well spent indeed :)

Looking back at this past long holiday weekend

  

The nearest I got to the lantern displays at Victoria Park this year

 

...as I found the large crowd pretty offputting!

 

As those who read my October 1 blog post know, I did not go out at all all day, never mind that evening.  Instead, I celebrated World Sake Day this year by having quite a bit of sake at home, by myself, in the middle of the day -- something which made me so sleepy, if not super mellow, that I actually ended up in bed for much of the day!

 

Neither did I venture out the evening before -- although I did go out for part of the day to get prepared for an upcoming festival I'm very much looking forward to.  More specifically, I spent a good chunk of Saturday going about procuring tickets for this year's Hong Kong Asian Film Festival screenings.  And the ticketing system being expectedly awful (due in no small part for one month's worth of film festival screenings all going on sale at the same time!), I'd estimate that I ended up spending around 20 minutes queuing for tickets and travelling between screening venues to queue for tickets at their ticketing counters for each ticket I ended up getting!

 

A quick film diversion: Expectedly, a number of the Hong Kong titles that will screen at the fest feature among the list of nominees for Taiwan's Golden Horse Awards which just came out today.  And yes, they were among the films whose screenings sold out earliest.  Still, the film whose screenings appeared to sell out the quickest was actually Wim Wenders' Perfect Days, thanks to lead actor Koji Yakusho's popularity in Hong Kong and news that he will be coming over to grace this year's Hong Kong Asian Film Festival!  (And yes, I think it's safe to surmise that among the Hong Kong film fest crowd, Japanese films rule -- along with local Hong Kong offerings which truly have seen a renaissance in recent years!)

 

The one evening that I ventured out on this long weekend was Friday: the night of the Mid-Autumn (AKA Mooncake, AKA Lantern) Festival.  Until last year or the year before though, I didn't go to Victoria Park to view the lantern display there -- because I had seen the size of the crowd -- which undoubtedly was swelled by Mainland Chinese tourists here during Golden Week -- on previous nights and found them horrifying.  (I mean: Covid IS still around after all!  Just today, there's news of a new Covid surge in Singapore and I've also read in recent weeks of Japan experiencing a ninth Covid wave!) 

 

Neither did I end up going to view the Tai Hang Fire Dragon, which actually ventured out into the streets for the first time since 2019.  Ditto re the less well known Pok Fu Lam Fire Dragon which I still haven't caught sight of in real life -- but, hopefully will at some point!  Heck, I didn't even do any moon viewing -- even though this Harvest Moon was actually the last supermoon of the year!    

Instead, I went over on Friday evening to the flat of friends and had a mooncake party that involved our sampling a whole bunch of mooncakes (e.g., traditional lotus seed paste with double yolk, red bean paste with orange peel, trendy lava custard mooncakes, an Earl Grey tea mini-mooncake, a durian flavoured mini mooncake, Haagen Dazs ice cream mooncakes)!  And yes, it was a lot of fun!

So, yes, it's possible to have happy moments in Hong Kong still.  Except, of course, it's also impossible to completely forget that, these days, many Hong Kongers have loved ones and/or friends who are no longer in Hong Kong and/or are currently in jail for political reasons.  Including on Mid-Autumn Festival, which traditionally is a day where families gather and reunite, as well as October 1st, a date which previously would see protest marches take place -- something which I saw as a positive sign that Hong Kong was a free society despite it not having genuine universal suffrage, and during which I was happy to see familiar faces with whom I felt an emotional connection and solidarity. *Sigh*