The Hong Kong On Screen Podcast

【114年地價稅開徵!!】

12/1前，使用手機掃描繳款書上QR Code輕鬆繳納地價稅。11月跟著臧芮萱一起多元管道自由選，ｅ化繳納最輕鬆！

114年地價稅開徵宣導短片： https://fstry.pse.is/8apums

------以上為財政部廣告------

—— 以上為 Firstory Podcast 廣告 ——

本集邀請唱作女歌手 Gloria 歌莉雅，談她從校際歌手一路走到 Hi-Fi 專輯常客的歷程。她以原創〈天生是女人〉入選第三屆「銀幕·香港」電影節，同名微電影《MAMACAR》也讓她把舞台聲線帶到鏡頭前。節目中我們聊到她在情感表達、節奏與面對鏡頭上的再適應，拍攝最難忘的一幕，多年 Hi-Fi 生涯的壓力管理，以及給初入行歌手／演員的一個實用建議。亦會回望自中學比賽以來的關鍵時刻與評語，如何成為她繼續前行的動力。節目尾聲，Gloria 分享剛推出、向偶像草蜢致敬的 Hi-Fi 靚聲專輯《Love You Forever》（SALUTE TO GRASSHOPPER）。

由她主演的微電影將於 9 月 13 日在 Starlight Whittier Cinemas Village 與《虎毒不》同場放映。

購票請至：點此購票

This episode features singer-songwriter Gloria (歌莉雅), tracing her journey from school competitions to becoming a mainstay of the Hi-Fi scene. Her original song “MAMACAR” was selected for the 3rd Hong Kong On Screen Film Festival, and the microfilm MAMACAR—for which it serves as the theme—continues her on-screen work. We discuss how she adjusted her emotional expression, timing, and relationship with the camera; the most unforgettable on-set moment; how she manages pressure after years in the Industry; and one practical tip for newcomers to singing and acting. We also revisit pivotal feedback from her school-competition days that propelled her forward. In the closing segment, Gloria shares her newly released Hi-Fi audiophile album Love You Forever (SALUTE TO GRASSHOPPER), a tribute to her idols, Grasshopper.


The microfilm she stars in will screen on September 13 at Starlight Whittier Cinemas Village, alongside 《Montages Of A Modern

Ep80：專訪《孤島紀事2022》導演郭旭宏

🎙️🎙️本集播客就是《孤島紀事2022》導演郭旭宏，她分享在2022年封關期間的心思，並討論對香港文化以及電影業未來的期盼，對香港高速發展表達憂愁卻對文化帶有希望。


第三屆銀幕·香港電影節——《孤島紀事2022》
日期：九月二日 (二)
時間：晚上七時
地點：University of Southern California, Norris Theatre
👉免費門票 https://cinema.usc.edu/MyHongKongDiaries

Ep. 77 Interview w/ Hester Kwok, the Director of "My Hong Kong Diaries in 2022"

🎙️🎙️ On this episode, we’re joined by the filmmaker of "My Hong Kong Diaries in 2022." She shares her experience during the 2022 lockdown, discusses her predictions for how Hong Kong culture and cinema will progress, and laments the rapid development of Hong Kong, yet still holds hope for the culture.




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The Hong Kong On Screen Podcast is a podcast dedicated to exploring Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.
Support the show: https://www.hkonscreen.org/giving...

【114年地價稅開徵!!】

12/1前，使用手機掃描繳款書上QR Code輕鬆繳納地價稅。11月跟著臧芮萱一起多元管道自由選，ｅ化繳納最輕鬆！

114年地價稅開徵宣導短片： https://fstry.pse.is/8apums

------以上為財政部廣告------

—— 以上為 Firstory Podcast 廣告 ——

在本集 podcast，我們專訪《風吹布動》導演，深入探討作品的拍攝背景與過程，以及社區參與所帶來的影響。雖然這份努力最終成功引起國際關注，但在城市發展的洪流下，逐漸式微的布業仍難敵地產壓力——那麼，今天的我們還能做些什麼呢？

《風吹布動》將於 9月6日（星期六） 在 CSUDH 放映，作為第三屆「銀幕·香港」電影節的精選節目。立即訂票，一同走進這段動人的故事！

🎟️ 購票連結：
https://www.tickettailor.com/events/hongkongonscreen1/1813383

In this podcast episode, we speak with the director of Stories of Pang Jai about the film’s background and production journey. The community’s efforts ultimately drew international attention, yet Hong Kong’s once-vibrant textile trade could not withstand the forces of urban redevelopment. So—what possibilities remain today?

Stories of Pang Jai will be screened at the 3rd “Hong Kong On Screen” Film Festival on Saturday, September 6, at CSUDH. Reserve your seat now and witness this powerful story on the big screen!

🎟️ Tickets:
https://www.tickettailor.com/events/hongkongonscreen1/1813383




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The Hong Kong On Screen Podcast is a podcast dedicated to exploring Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You ca

在本集節目中，主持人將為大家詳細介紹 第三屆「銀幕·香港」電影節 (HKOSFF) 的重點內容——從今年的片單到參與方式，一應俱全。本屆洛杉磯實體重點放映包括：

《不赦之罪》 (Valley of the Shadow of Death)
《風繼續吹》 (No Time for Goodbye)
《香港四徑大步走》 (Four Trails)
《虎毒不》 (Montages of a Modern Motherhood)
《十年》 (Ten Years)

此外，還有 四場免費校園放映，精選作品包括：
《慧童》 (Something About)
《茶粿》 (Cha Guo)
《李小龍：複製新宇宙》 (Enter the Clones of Bruce)
《風吹布動》 (Stories of Pang Jai)

如果您不在洛杉磯，也可以透過全球網上平台免費觀賞以下兩部影片：
黃肇邦的《十方之地》 (Obedience)
許鞍華的《詩》 (elegies)

同時，本屆「銀幕·香港」徵片單元的優秀作品也將組成三個特別節目 —— Program A、B、C，均可免費在線觀看。如果您願意，也非常歡迎捐款支持「銀幕·香港」的發展。

👉 電影節詳情請見：hkonscreen.org/festival


In this episode, the host takes you through the highlights of the 3rd Hong Kong On Screen Film Festival (HKOSFF)—from this year’s lineup to how you can take part. We spotlight five feature screenings in Los Angeles:

Valley of the Shadow of Death (不赦之罪)
No Time for Goodbye (風繼續吹)
Four Trails (香港四徑大步走)
Montages of a Modern Motherhood (虎毒不)
Ten Years (十年)

The festival also presents four free campus screenings, featuring:
Something About (慧童)
Cha Guo (茶粿)
Enter the Clones of Bruce (李小龍：複製新宇宙)
Stories of Pang Jai (風吹布動)

For audiences outside Los Angeles, HKOSFF offers global online access. You can watch for free:

Obedience (十方...

Ep77：專訪《風繼續吹》導演吳曉東

🎙️🎙️本集播客幸慶邀請《風繼續吹》導演吳曉東，回顧他由記者轉入電影行業的經歷，探討海外香港電影的狀況，以及分享他在英國拍電影的心思。現已於主要串流平台上架。


第三屆銀幕·香港電影節——《風繼續吹》
日期：八月二十三日（六）
時間：晚上六時
地點：Starlight Whittier Village Cinemas
👉購買門票 https://www.starlightcinemas.com/movies/1000028485-no-time-for-goodbye/


Ep. 77 Interview w/ Don Ng, the Director of "No Time for Goodbye"

🎙️🎙️ On this episode, we’re joined by the filmmaker of "No Time for Goodbye," where he discusses his transition from journalism to filmmaking, the nature of Hong Kong cinema overseas, and shares his thoughts on making films in the UK. Now available on major streaming platforms.


3rd Hong Kong On Screen Film Festival – No Time For Goodbye

Date: Aug 23 (Sat)
Time: 6 PM
Location: Starlight Whittier Village Cinemas

🎟️ Tickets on sale now:
👉 https://www.starlightcinemas.com/movies/1000028485-no-time-for-goodbye/


📩 Subscribe to the Hong Kong On Screen newsletter (http...

「Keep Roll嚟多個」x Hong Kong On Screen 聯播Podcast

Ep76：專訪 影意志獨立短片獎 特輯 入圍作品五地聯展：導演訪談系列（三）

《15》導演：陳褀欣
《黑羊》導演：曾楊
"My Pen is Blue," 導演：邵知恩

🎬 「影意志香港獨立短片獎2025」入圍作品將於洛杉磯 🏙️ 6月14、21及28日連續三個星期六放映，📩 記得訂閱《銀幕・香港》電子報，第一時間獲取放映詳情！

預留位置現已開放，即刻留位！

🎙️🎙️ 本集節目特別邀請到「節目三」的三位導演接受訪問！在訪談中，他們真誠分享了創作短片的初心與過程中面對的挑戰💡🎬。同時，他們也對這次的放映充滿期待，希望能吸引更多關注香港電影的觀眾走進戲院，共同支持本地創作🇭🇰🎥。




Ep.76 Interview w/ HK Indie Short Film Award 2025 Directors Program III [Cantonese]

15 Director: Chan Ki Yan
Black Sheep Director: Tsang Yeung
My Pen is Blue, Director: Siu Chi Yan

🎬 The shortlisted films from the Hong Kong Independent Short Film Award 2025 will be screened in Los Angeles 🏙️ on three consecutive Saturdays: June 14, 21, and 28.

🎙️🎙️ In this episode, we’re joined by the three directors featured in “Program 3”! During the interview, they sincerely share the inspirations behind their short films and the challenges they faced along the way 💡🎬. They also express great excitement for the upcoming screening, hoping it will attract more audiences who care about Hong Kong cinema to come to the theater and support local creations 🇭🇰🎥.

RSVP Now!

📩 Subscribe to the Hong Kong On Screen newsletter for the latest screening details!



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The Hong Kong On

「Keep Roll嚟多個」x Hong Kong On Screen 聯播Podcast

Ep75：專訪 影意志獨立短片獎 特輯 入圍作品五地聯展：導演訪談系列（二）

《Sushi》 導演：黃勺嫚
《即使多轉變》導演：盧穎怡/鄭一昊/陳林
《殺死丁力II之帝國反擊戰》 導演：羅絡熙/胡孝宗/梁俊達
《爺爺來訪的夜》導演：阮智謙

🎬 「影意志香港獨立短片獎2025」入圍作品將於洛杉磯 🏙️ 6月14、21及28日連續三個星期六放映，📩 記得訂閱《銀幕・香港》電子報，第一時間獲取放映詳情！

預留位置現已開放，即刻留位！

🎙️🎙️ 本集節目特別邀請到「節目二」的八位導演接受訪問！在訪談中，他們真誠分享了創作短片的初心與過程中面對的挑戰💡🎬。同時，他們也對這次的放映充滿期待，希望能吸引更多關注香港電影的觀眾走進戲院，共同支持本地創作🇭🇰🎥。



Ep.75 Interview w/ HK Indie Short Film Award 2025 Directors [Cantonese]

Sushi Director: Wong Cheuk Man
Move On Move On Directors: Lo Wing Yi， Zheng Yihao， Chen Lin
Kill Danny II: A Puppy Love Story Directors: Law Lok Hei, Leung Chun Tat, Wu Hau Chung
The Reticent Wave Director: Yuen Chi Him

🎬 The shortlisted films from the Hong Kong Independent Short Film Award 2025 will be screened in Los Angeles 🏙️ on three consecutive Saturdays: June 14, 21, and 28.

🎙️🎙️ In this episode, we’re joined by the eight directors featured in “Program 2”! During the interview, they sincerely share the inspirations behind their short films and the challenges they faced along the way 💡🎬. They also express great excitement for the upcoming screening, hoping it will attract more audiences who care about Hong Kong cinema to come to the theater and support local creations 🇭🇰🎥.

RSVP Now!

📩 Subscribe to the Hong Kong On Screen newsletter for the latest

「Keep Roll嚟多個」x Hong Kong On Screen 聯播Podcast

Ep74：專訪 影意志獨立短片獎 特輯 入圍作品五地聯展：導演訪談系列（一）王樂堯/杜震謙/唐浩賢/陳穎淇

🎬 「影意志香港獨立短片獎2025」入圍作品將於洛杉磯 🏙️ 6月14、21及28日連續三個星期六放映，📩 記得訂閱《銀幕・香港》電子報，第一時間獲取放映詳情！

預留位置現已開放，即刻留位！

🎙️🎙️ 本集節目特別邀請到「節目一」的四位導演接受訪問！在訪談中，他們真誠分享了創作短片的初心與過程中面對的挑戰💡🎬。同時，他們也對這次的放映充滿期待，希望能吸引更多關注香港電影的觀眾走進戲院，共同支持本地創作🇭🇰🎥。



Ep.74 Interview W/ HK Indie Short Film Award 2025 Directors Wong Lok Yiu/ To Chun Him/ Tong Ho Yin/ Chan Wing Ki [Cantonese]

🎬 The shortlisted films from the Hong Kong Independent Short Film Award 2025 will be screened in Los Angeles 🏙️ on three consecutive Saturdays: June 14, 21, and 28.

🎙️🎙️ In this episode, we’re joined by the four directors featured in “Program 1”! During the interview, they sincerely share the inspirations behind their short films and the challenges they faced along the way 💡🎬. They also express great excitement for the upcoming screening, hoping it will attract more audiences who care about Hong Kong cinema to come to the theater and support local creations 🇭🇰🎥.

RSVP Now!

📩 Subscribe to the Hong Kong On Screen newsletter for the latest screening details!



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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter,

Ep73：專訪香港電影節（澳洲）主辦人阿詩及義工Hester

🎬 「影意志香港獨立短片獎2025」入圍作品將於洛杉磯 🏙️ 6月14、21及28日連續三個星期六放映，📩 記得訂閱《銀幕・香港》電子報，第一時間獲取放映詳情！

預留位置現已開放，即刻留位！

🎙️🎙️ 本集節目邀請到是次電影節的主辦人阿詩及Hexter，與我和HKOS新加入的義工Iris分享籌辦過程中遇到的難題與故事。

🔥 他們亦談到選擇放映電影名單的難處和需要顧及的事情。

🏆 節目最後，他們還分享對香港電影產業狀況的看法。


Ep.73 Interview w/ Hong Kong Film Festival Australia Organiser Cicely and Volunteer Hester [Cantonese]

🎬 The shortlisted films from the Hong Kong Independent Short Film Award 2025 will be screened in Los Angeles 🏙️ on three consecutive Saturdays: June 14, 21, and 28.

RSVP Now!

🎙️🎙️ In this episode, Cicely and Hexter who are the organiser and volunteer of HKFFA, will be sharing the insights of creating this festival, with me and Iris, our new volunteer in HKOS.

🔥 They also talked about the difficulties they had when deciding the films to be screened in the festival.

🏆 Towards the end of the episode, they shared their views towards Hong Kong film industry as well.

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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at inf

Ep72：專訪「影意志香港獨立短片獎2025」籌備人蔡嘉儀

🎬 「影意志香港獨立短片獎2025」入圍作品將於洛杉磯 🏙️ 6月14、21及28日連續三個星期六放映，📩 記得訂閱《銀幕・香港》電子報，第一時間獲取放映詳情！

預留位置現已開放，即刻留位！

🎙️🎙️ 本集節目邀請到是次短片獎活動的主辦人蔡嘉儀，與我分享籌辦過程中的點滴與幕後故事。

🔥 她也談到，在移居台灣後，為何仍選擇堅持這份工作，以及背後的動力與信念。

🏆 節目最後，我們一起探討了「什麼是獨立電影？」以及「香港的獨立電影未來還能如何走下去？」



Ep.72 Interview w/ the HK Indie Short Film Award 2025 Organizer Kaiu Choy [Cantonese]

🎬 The shortlisted films from the Hong Kong Independent Short Film Award 2025 will be screened in Los Angeles 🏙️ on three consecutive Saturdays: June 14, 21, and 28.

RSVP Now!

📩 Subscribe to the Hong Kong On Screen newsletter for the latest screening details!

🎙️🎙️ In this episode, I’m joined by Kaiu Choy, the organizer of this year’s short film awards, who shares behind-the-scenes stories and insights from the planning process.

🔥 She also talks about why she continues to pursue this work even after relocating to Taiwan, and what drives her to keep going.

🏆 Toward the end of the episode, we delve into questions like: What is independent cinema? And what paths are still open for Hong Kong’s independent film scene?

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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follo

Ep71：專訪「多倫多香港會」負責人Irene Chan

🎬 「影意志香港獨立短片獎2025」入圍作品將於洛杉磯 🏙️ 6月14、21及28日連續三個星期六放映，📩 記得訂閱《銀幕・香港》電子報，第一時間獲取放映詳情！

預留位置現已開放，即刻留位！

🎙️🎙️ 本集節目邀請到多倫多香港會負責人 Irene Chan，與我們分享自2020年以來多倫多舉辦香港電影放映活動的點滴。

🔥 她也談到多次策劃獨立電影放映的初衷與心得體會。

🏆 節目最後，我們深入介紹了「影意志香港獨立短獎2025」的放映詳情，敬請留意！

🎟️ 多倫多區嘅朋友想買飛，可以去呢度：https://shorturl.at/ib7ZX



Ep.71 Interview with Irene Chan, Director of the Toronto Hong Kong Club

🎬 The shortlisted films from the Hong Kong Independent Short Film Award 2025 will be screened in Los Angeles 🏙️ on three consecutive Saturdays: June 14, 21, and 28.

RSVP Now!

📩 Subscribe to the Hong Kong On Screen newsletter for the latest screening details!

🎙️ In this episode, we invited Irene Chan, Director of the Toronto Hong Kong Club, to share highlights from the Hong Kong film screenings held in Toronto since 2020.

🔥 She also spoke about the motivations and experiences behind organizing multiple independent film screenings.

🏆 At the end of the episode, we dove into the details of the upcoming "Hong Kong Independent Shorts Awards 2025" screening — don’t miss it!

🎟️ Friends in the Toronto area can get their tickets here: https://shorturl.at/ib7ZX

Ep70：專訪「影意志香港獨立短片獎2025」策展人崔允信

🎬 「影意志香港獨立短片獎2025」入圍作品將於洛杉磯 🏙️ 6月14、21及28日連續三個星期六放映，📩 記得訂閱《銀幕・香港》電子報，第一時間獲取放映詳情！

預留位置現已開放，即刻留位！

🎙️ 本集節目中，我們邀請到老朋友、導演崔允信，深入談論這個短片獎的發起緣由、評審機制與得獎作品的背後故事。

🔥 他也進一步分享入選作品《星星之火・不可燎原》退出原定全球五地聯展的詳情，並談到自己面對事件時的灰心與感受。

🏆 節目最後，我們還討論了最新一屆香港電影金像獎的結果，以及它對本地獨立電影生態的潛在影響。

📰 相關報導：

Ep70: Interview with “Hong Kong Independent Short Film Award 2025” Curator Vincent Cui

🎬 The shortlisted films from the Hong Kong Independent Short Film Award 2025 will be screened in Los Angeles 🏙️ on three consecutive Saturdays: June 14, 21, and 28.

RSVP Now!

📩 Subscribe to the Hong Kong On Screen newsletter for the latest screening details!

🎙️ In this episode, we speak with our good friend,

🎧 HKOS Podcast 全新上線！Ep69: 與電影原創音樂大師戴偉的深度對話
🎬 電影《我談的那場戀愛》已於12月6日在全美上映，尚未購票的觀眾請盡快行動，珍惜映期！

🎟️ 購票連結：https://www.amctheatres.com/movies/love-lies-78564

本集播客特別邀請三屆香港電影金像獎得主戴偉，深入探討🎼 電影配樂的核心意義、製作過程及其對電影的重要性。我們回顧了他自1998年踏入配樂行業以來的非凡經歷與深刻見解，同時深入了解他為《我談的那場戀愛》製作電影音樂的過程：

✨ 如何選擇主題聲音以代表電影
🎤 如何為歌手量身打造歌曲展現其最佳特色
🎥 如何協調音樂與影片的完美結合

此外，戴偉也分享了與知名電影人如導演黃修平及監製泰迪羅賓的合作點滴，帶來不少幕後故事。🎞️
📀 戴偉的精彩作品已廣泛登陸各大串流平台，包括2023年特別製作的Atmos版《金手指》（可於Apple Music收聽），以及多部備受讚譽的原聲大碟，如：

🎶《狂舞派》
🎶《哪一天我們會飛》
🎶《點五步》

音樂愛好者千萬不要錯過，立即上線收聽吧！🔥

🎧 HKOS Podcast: New Episode! Ep69 - A conversation with Film Music Producer Day Tai
🎬 The film Love Lies premiered nationwide in the U.S. on December 6! For those who haven’t purchased tickets yet, don’t miss the chance to watch it during its limited run.

🎟️ Get your tickets here: Click Here

In this episode, we are thrilled to have Day Tai, a three-time Hong Kong Film Awards winner, join us to explore the essence of 🎼 film scoring, its production process, and its importance to movies. We also look back at his remarkable career since entering the industry in 1998 and delve into his work on Love Lies:
✨ How he chose the signature sounds to represent the film

🎤 How he tailored songs to highlight the unique qualities of the singers
🎥 How he seamlessly integrated music with the cinematic narrative
Additionally, Day shares behind-the-scenes stories about working with renowned filmmakers such as director Adam Wong and producer Teddy Robin. 🎞️
📀 Many of Day’s acclaimed works are available on major streaming platforms, including the 2023 special Atmos editi

🎥 紀錄片《寧化飛灰》（Rather Be Ashes Than Dust），一部屬於香港人的作品，將於洛杉磯 🌟 Starlight Whittier Village Cinemas 放映。屆時，制片人湯美如將出席映前與映後的座談會🎙️。

電影門票可於以下連結購買：🔗 https://booking.starlightcinemas.com/login/1003/111626（選擇 “Continue as Guest” 即可購票 🎫）。

在本集，主持人與紀錄片製片湯美如 🎥 深入探討其參與製作的多部紀錄片，包括《Denise Ho - Becoming the Song》🎶（2020）、《Faceless》😷（2022）以及《寧化飛灰》🔥（2023）。節目最後，Nancy還分享了對海外香港人🌏如何應對2019年後香港🇭🇰局勢的看法。

🎥 A documentary for Hong Kongers, Rather Be Ashes Than Dust, will be screened at Starlight Whittier Village Cinemas 🌟 in Los Angeles. Producer Nancy Tong will attend pre- and post-screening discussions.  

Tickets are available here:🔗 https://booking.starlightcinemas.com/login/1003/111626 (Note: Select "Continue as Guest" to purchase directly🎫).

In this podcast episode, the host engages in a deep conversation with documentary producer Nancy Tong 🎥 about her experiences working on several documentaries, including Denise Ho - Becoming the Song (2020) 🎶, Faceless (2022) 😷, and Rather Be Ashes than Dust (2023) 🔥. Toward the end of the episode, Nancy shares her thoughts on how overseas Hongkongers 🌏 should respond to the post-2019 situation in Hong Kong 🇭🇰.

---
The Hong Kong On Screen Podcast is a podcast abo...

🎥 紀錄片《寧化飛灰》（Rather Be Ashes Than Dust），一部屬於香港人的作品，將於洛杉磯 🌟 Starlight Whittier Village Cinemas 放映。屆時，制片人湯美如將出席映前與映後的座談會🎙️。電影門票可於以下連結購買：🔗 https://booking.starlightcinemas.com/login/1003/111626（選擇 “Continue as Guest” 即可購票 🎫）。

🎧 在最新一集播客，主持人與導演劉健倫深入探討了電影的製作過程、個人經歷，以及移居英國後的所見所聞🇬🇧。劉導演更寄望香港電影人能拓展視野🌏，積極創作，為香港人持續發聲📢。


🎥 A documentary for Hong Kongers, Rather Be Ashes Than Dust, will be screened at Starlight Whittier Village Cinemas 🌟 in Los Angeles. Producer Nancy Tong will attend pre- and post-screening discussions. Tickets are available here:🔗 https://booking.starlightcinemas.com/login/1003/111626 (Note: Select "Continue as Guest" to purchase directly🎫).

🎧 In this podcast episode, the host talks in depth with director Alan Lau about the filmmaking process, personal experiences, and observations after emigrating to the UK🇬🇧. The director also encourages Hong Kong filmmakers to broaden their visions 🌏, engage in creative projects, and continue speaking out for Hong Kong📢.



---


The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can als

Ahead of the Los Angeles Premiere of this year’s Teddy Award-winning film ALL SHALL BE WELL, we interview director Ray Yeung and producer Teresa Kwong on their take on the story and style of the film, the journey of bringing the film to screen, and the film’s unlikely connections to Johnnie To and Wong Kar-wai!

2nd Hong Kong On Screen Film Festival – All Shall Be Well
Date: September 7, 2024 (Sat)
Time: 7:00 PM
Location: Starlight Whittier Village Cinemas
Get your tickets here!

Movies mentioned:
All Shall Be Well《從今以後》
Suk Suk (Twilight’s Ki...

導演周冠威稱《幻愛》為他的首部個人長篇電影，儘管在此之前他已完成《一個複雜的故事》以及香港金像獎最佳電影《十年》中的「自焚者」短片。銀幕·香港非常榮幸將《幻愛》納入第二屆「銀幕·香港電影節」的線上放映名單，該片於2024年8月25日美國西岸時間凌晨至9月1日晚上11:59期間免費開放全球觀眾觀看。此外，還附有周導演為登記觀眾錄製的短片介紹，反應熱烈。我們感謝所有觀眾的支持，特別感謝那些慷慨捐款的人士！

在本集podcast中，我們回顧了周導演參與的所有電影，並提到他最近在台灣完成的合拍片，這也是他首部以非粵語拍攝的「香港電影」。聽眾還可以收聽我們製作的第12集和第13集podcast，其中我們詳細討論了導演的金馬獎得獎作品《時代革命》。

Director Chow Kwun-wai describes *BEYOND THE DREAM* as his first personal feature-length film, although he had previously completed *A COMPLICATED STORY* and the "Self-immolator" short in *TEN YEARS*, which won Best Film at the Hong Kong Film Awards. Hong Kong On Screen is honored to include *BEYOND THE DREAM* in the second "Hong Kong On Screen Festival" online screening lineup. The film was free for global viewing from August 25, 2024, at midnight Pacific Time until 11:59 p.m. on September 1, 2024. Additionally, a short introduction by Director Chow, explicitly recorded for registered viewers, has been included, and an enthusiastic response has been received. We thank all viewers for their support, especially those who generously donated!

In this podcast episode, we review all the films in which Director Chow has been involved and mention his recent co-production in Taiwan, which is also his first "Hong Kong film" shot in a non-Cantonese language. Listeners can also check out episodes 12 and 13 of our podcast, where we discuss in detail his Golden Horse Award-winning work, *REVOLUTION OF OUR TIMES*.



---


The Hong Kong

「香港電影史導論 Podcast第七集」討論大網

有關這系列的Podcast, 詳情請看這裡。


第七集「無線電視廣播的衝擊及『香港地』『香港人』意識的明顯出現」


討論大網：

1967年無線電視開始，到1970年代電視成了深入民心的娛樂和資信媒介。其後原本有線廣播的麗的也轉為無線廣播。香港電影也受到電視冒起的直接影響。電視上成功的節目被改編成電影，電視也成了電影人材的培訓地，成功的電視人紛紛被引進電影圈。電視上的戲劇節目和新聞節目也建立了一個清晰的香港人身份認同。以粵語作廣播的電視甚至幫助香港電影由國語主導轉變成粵語主導。香港電影也在1970年代完成了世代交替，上一輩編導多在1970年代退下火線，在香港成長的新一代影人紛紛接棒，單以電影界出身的，吳思遠、洪金寶、吳宇森都開始建立他們穩固的導演地位。新一代影人之外還有新的類型，功夫片、警匪片、黑幫片、賭千片等過去沒有的類型也在1970年代成型。

---------

Outline of Introduction to Hong Kong Film Industry Podcast Part 7

About this series of podcasts, please check here.

Episode 7: “TVB’s Impact on the Emergence of ‘Hong Kong’ and the ‘Hong Konger’ Identity"

Television Broadcasting Limited (TVB) was founded in 1967 and had, by the 1970s, become a popular and influential entertainment and information program in Hong Kong. Even Hong Kong cinema was directly influenced by the rise of television. Television soon became a training ground for talent in the film industry: successful televisions were often adapted into movies, and it was common for successful television personnel to be introduced into the film industry. Television dramas and news programs also established a distinctive identity for the people of Hong Kong. Cantonese Television even helped shift Hong Kong Cinema’s market from being a Mandarin-dominated market to being Cantonese-dominated. In the 1970s, Hong Kong cinema completed a generational transition, with the previous generation of directors and writers retiring from the scene and a new generation of filmmakers from Hong Kong taking over. Notable directors who emerged from this period include John Woo, Sammo Hung, and Tsui Hark, who all esta

《幸彤在監獄》已於6月1日於Starlight Whittier Village Cinemas 下午3點放映 🎬✨，詳情請到：https://shorturl.at/mnNO7 🎬✨
在這一集podcast 🎧，我們跟鄒幸彤的好朋友家傾談了幸彤的近況，以及網上群組「小彤群抽會」為六四寫證詞的呼籲又是什麼呢🗣️?

---
“She’s in Jail” was screened on June 1 at Starlight Whittier Village Cinemas at 3 PM 🎬✨. For more details, please visit https://shorturl.at/mnNO7 🎬✨
In this episode of the podcast 🎧, we talk with a close friend of Chow Hang-tung about her current situation and what is the online group 'Chow Hang Tung Club”' calling for testimonies for June fourth 🗣️?

---



The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.


Support the show: https://www.hkonscreen.org/givin

「香港電影史導論 Podcast第六集」討論大網

有關這系列的Podcast, 詳情請看這裡。


第六集「嘉禾的出現及自由競爭下1970年代影業的興旺」


討論大網：

1970年開始時，擁有影城和院線，製作量龐大的邵氏兄弟公司好像一個絕不可能被打倒的影壇巨人，結果它卻製造出自己的強大敵人，那就是從邵氏公司的管理人員鄒文懷。鄒在邵氏因方逸華主政而離開組織嘉禾公司，它發掘了李小龍，承接了國泰公司的片廠，組織了院線，再由許冠文喜劇屢破票房紀錄。嘉禾由一家資金短絀的公司發展成足以與邵氏分庭抗禮的國際有名的大公司，並成為1980至1990香港電影的中流砥柱，可說是一個傳奇。除了嘉禾，1970年代在不同時期都有一些獨立電影公司在票房上創出佳績，為影業帶來新風，包括思遠、繽繽，這都與香港影業自由競爭脫不了干系。

在這第六集的podcast， 我們一共分開三節，在第三節，我們討論了以下內容：

---------

Outline of Introduction to Hong Kong Film Industry Podcast Part 6

About this series of podcasts, please check here.

Episode 6: “The Emergence of Golden Harvest and the Flourishing of the Film Industry in the 1970s Under Free Competition"

At the start of the 1970s, the Shaw Brothers Company, with its studios and cinema chains and a massive production volume, seemed like an invincible giant in the film industry. However, it created its formidable competitor: Raymond Chow, a former Shaw Brothers executive. Chow left the company due to disagreements with Mona Fong's management and founded Golden Harvest. Golden Harvest discovered Bruce Lee, took over Cathay Organization's studios, and established its cinema chain. The success of Michael Hui's comedies repeatedly broke box office records. Golden Harvest evolved from a financially struggling company into an internationally renowned giant capable of rivaling Shaw Brothers. It became a pillar of Hong Kong cinema from the 1980s to the 1990s, embodying a legendary success story.

In addition to Golden Harvest, several independent film companies achieved significant box office success during the 1970s, bringing fresh ideas to the industry. These included companies like Seasonal Film Corporation and Bo Ho Film Company, which thrived due to the free competition in Hong Kong's film industry.

In this sixth episode of the podcast, we divided our discussion into three segments. In the third segment, we covered the following topics:

「香港電影史導論 Podcast第六集」討論大網

有關這系列的Podcast, 詳情請看這裡。


第六集「嘉禾的出現及自由競爭下1970年代影業的興旺」


討論大網：

1970年開始時，擁有影城和院線，製作量龐大的邵氏兄弟公司好像一個絕不可能被打倒的影壇巨人，結果它卻製造出自己的強大敵人，那就是從邵氏公司的管理人員鄒文懷。鄒在邵氏因方逸華主政而離開組織嘉禾公司，它發掘了李小龍，承接了國泰公司的片廠，組織了院線，再由許冠文喜劇屢破票房紀錄。嘉禾由一家資金短絀的公司發展成足以與邵氏分庭抗禮的國際有名的大公司，並成為1980至1990香港電影的中流砥柱，可說是一個傳奇。除了嘉禾，1970年代在不同時期都有一些獨立電影公司在票房上創出佳績，為影業帶來新風，包括思遠、繽繽，這都與香港影業自由競爭脫不了干系。


在這第六集的podcast， 我們一共分開三節，在第二節，我們討論了以下內容：

Outline of Introduction to Hong Kong Film Industry Podcast Part 6

About this series of podcasts, please check here.

Episode 6: “The Emergence of Golden Harvest and the Flourishing of the Film Industry in the 1970s Under Free Competition"

At the start of the 1970s, the Shaw Brothers Company, with its studios and cinema chains and a massive production volume, seemed like an invincible giant in the film industry. However, it created its formidable competitor: Raymond Chow, a former Shaw Brothers executive. Chow left the company due to disagreements with Mona Fong's management and founded Golden Harvest. Golden Harvest discovered Bruce Lee, took over Cathay Organization's studios, and established its cinema chain. The success of Michael Hui's comedies repeatedly broke box office records. Golden Harvest evolved from a financially struggling company into an internationally renowned giant capable of rivaling Shaw Brothers. It became a pillar of Hong Kong cinema from the 1980s to the 1990s, embodying a legendary success story.

In addition to Golden Harvest, several independent film companies achieved significant box office success during the 1970s, bringing fresh ideas to the industry. These included companies like Seasonal Film Corporation and Bo Ho Film Company, which thrived due to the free competition in Hong Kong's film industry.


In this sixth episode of the podcast, we divided our discussion into three segments. In the second segment, we covered the following topi

《幸彤在監獄》將於6月1日於Starlight Whittier Village Cinemas 下午3點放映 🎬✨，詳情請到：https://shorturl.at/mnNO7 🎬✨

在這一集podcast 🎧，我們跟鄒幸彤的好朋友家傾談了幸彤的近況，以及網上群組「小彤群抽會」為六四寫證詞的呼籲又是什麼呢🗣️？


---
“She’s in Jail” will be screened on June 1st at Starlight Whittier Village Cinemas at 3 PM 🎬✨. For more details, please visit:  https://shorturl.at/mnNO7 🎬✨

In this episode of the podcast 🎧, we talk with a close friend of Chow Hang-tung about her current situation, and what is the online group 'Chow Hang Tung Club”' calling for testimonies for June Fourth 🗣️?"






---



The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.

《填詞L》已於5月25日於Starlight Whittier Village Cinemas 下午3點放映 🎬✨，多謝入場觀賞電影的朋友 💖，另外也多謝導演黃綺琳和監製黃鐦親身來到現場跟我們分享 🙏。

在這一集podcast，我們跟導演主要討論了電影拍攝初衷 🎥，選景的邏輯 📍，拍攝期間的挑戰 💪，以及對填詞夢的最終結果有什麼看法 🎶。

係呢度聽：https://hkonscreen.firstory.io/ 🎧
---

"The Lyricist Wannabe" was screened on May 25th at 3:00 PM at Starlight Whittier Village Cinemas 🎬✨. We thank everyone who came to watch the film 💖 and special thanks to director Norris Wong and producer Hoi Wong for coming in person to share with us 🙏.

In this episode of the podcast, we mainly discussed with the director the initial inspiration for making the film 🎥, the logic behind choosing locations 📍, the challenges faced during filming 💪, and their thoughts on the outcome of the dream of becoming a lyricist 🎶.

Listen here: https://hkonscreen.firstory.io/ 🎧


---


The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow...

「香港電影史導論 Podcast第六集」討論大網

有關這系列的Podcast, 詳情請看這裡。


第六集「嘉禾的出現及自由競爭下1970年代影業的興旺」


討論大網：

1970年開始時，擁有影城和院線，製作量龐大的邵氏兄弟公司好像一個絕不可能被打倒的影壇巨人，結果它卻製造出自己的強大敵人，那就是從邵氏公司的管理人員鄒文懷。鄒在邵氏因方逸華主政而離開組織嘉禾公司，它發掘了李小龍，承接了國泰公司的片廠，組織了院線，再由許冠文喜劇屢破票房紀錄。嘉禾由一家資金短絀的公司發展成足以與邵氏分庭抗禮的國際有名的大公司，並成為1980至1990香港電影的中流砥柱，可說是一個傳奇。除了嘉禾，1970年代在不同時期都有一些獨立電影公司在票房上創出佳績，為影業帶來新風，包括思遠、繽繽，這都與香港影業自由競爭脫不了干系。


在這第六集的podcast， 我們一共分開三節，在第一節，我們討論了以下內容：

---------

Outline of Introduction to Hong Kong Film Industry Podcast Part 6

About this series of podcasts, please check here.

Episode 6: “The Emergence of Golden Harvest and the Flourishing of the Film Industry in the 1970s Under Free Competition"

At the start of the 1970s, the Shaw Brothers Company, with its studios and cinema chains and a massive production volume, seemed like an invincible giant in the film industry.  However, it created its formidable competitor: Raymond Chow, a former Shaw Brothers executive.  Chow left the company due to disagreements with Mona Fong's management and founded Golden Harvest.  Golden Harvest discovered Bruce Lee, took over Cathay Organization's studios, and established its cinema chain.  The success of Michael Hui's comedies repeatedly broke box office records. Golden Harvest evolved from a financially struggling company into an internationally renowned giant capable of rivaling Shaw Brothers.  It became a pillar of Hong Kong cinema from the 1980s to the 1990s, embodying a legendary success story.

In addition to Golden Harvest, several independent film companies achieved significant box office success during the 1970s, bringing fresh ideas to the industry.  These included companies like Seasonal Film Corporation and Bo Ho Film Company, which thrived due to the free competition in Hong Kong's film industry.

In this sixth episode of the podcast, we di

《填詞L》將於5月25日於Starlight Whittier Village Cinemas 下午3點放映，詳情請到：https://www.hkonscreen.org/lyricist 🎬✨

在這一集podcast，我們跟導演主要討論了《填詞L》票房終於達到700萬 💸，從很㥬惶到最終收回成本的心情 😰😅。另外，導演因為參與了Netflix劇集《此時此刻》的製作，我們於是也討論了台灣與香港電影／電視製作的分別 🎥🇹🇼🇭🇰，還有從政府資助的首部劇情電影計劃到自資拍攝電影，再到參與高成本的跨國製作 🌏🎬，當中的又體味到什麼呢？

---

"The Lyricist Wannabe" will be screened on May 25th at 3:00 PM at Starlight Whittier Village Cinemas. For more details, please visit: https://www.hkonscreen.org/lyricist 🎬✨.

In this podcast episode, we mainly discussed with the director about the box office of "The Lyricist Wannabe,” which finally reached 7 million 💸, from being very anxious 😰 to eventually breaking even 😅. Additionally, because the director participated in the production of the Netflix series "At the Moment," we also discussed the differences between film/television production in Taiwan and Hong Kong 🎥🇹🇼🇭🇰. Moreover, we discussed the experiences gained from the government's First Feature Film Initiative, which involved self-financed film production and participation in high-budget international productions 🌏🎬.

---


The Hong Kong On Screen Podcast is a podcast about Hong Kong...

🎙️📽️🌸 在這一集podcast，主持人跟導演圍繞紀錄片《白孃孃：一朶遲桂花》討論了以下幾點：

🔍 埋藏了52年的錄影帶是如何發現？影帶錄下了什麼呢？這個發現跟潘迪華（潘姐姐）有什麼關係呢？
👩‍🎤 《白孃孃》究竟是什麼呢？潘姐姐對這套音樂劇有什麼期望呢？
🎭 我們是從那裡認識潘姐姐呢？
🎬 潘姐姐喜歡演戲嗎？她是演員還是歌星？
💡 在製作這個紀錄片的過程中，最困難的是什麼呢？
🌍 最終能把這套紀錄片帶給海外的觀眾，導演會有什麼期望呢？
📅 潘組姐的個人紀錄片什麼時候推出呢？內容有些什麼呢？


🎥 這部紀綠片會在5月29日下午4時於McCormick Screening Room, UC Irvine 免費放映，導演會親身出席映後訪談，請觀眾撥冗出席。
🎟️ 請情可看這裡：https://www.hkonscreen.org/painiangniang-chi


🎙️📽️🌸 In this episode of the podcast, the host and the director discussed the following points regarding the documentary "Pai Niang Niang: The Last Osmanthus Blossom":

🔍 How was the videotape buried for 52 years discovered? What was recorded on the tape? 
👩‍🎤 What is this discovery related to Rebecca Pan (Sister Pan)? What is "Pai Niang Niang"? What are Sister Pan's expectations for this musical? 
🎭 How did we first know Sister Pan? 
🎬 Does Sister Pan like acting? Is she an actress or a singer? 
💡 What was the most challenging part of making this documentary? 
🌍 What are the director's expectations for finally bringing this documentary to overseas audiences? 
📅 When will Sister Pan's documentary be released? What does it contain?


🎥 This documentary will be screened for FREE at the McCormick Screening Room, UC Irvine, on May 29th at 4 pm. The director will personally attend a post-screening interview. Please make time to attend!

🎟️ Free ticketing information: h

《七月返歸》終於來北美放映，各位香港電影迷，記得3月29日，一定要盡快買票入場！
《銀幕·香港》很開心得到美國發行的邀請，跟導演謝家祺做一個簡而精的訪問，訪問中除了談到電影創作的源起，還談了Mirror 文化，導演大贊AK (江𤒹生)粉絲，讓他們劇組非常感動。想聽更多，記得馬上收聽啦！

The North American premiere of "BACK HOME" has finally arrived, and Hong Kong's film enthusiasts should mark March 29th on their calendars and purchase their tickets promptly. 

"Hong Kong On Screen" was delighted to have been invited by the US distributor to conduct a brief yet insightful interview with the film's director, Nate Ki. The discussion covered the film's genesis and delved into the concept of Mirror (A Hong Kong Cantopop Boy group) culture. The director expressed admiration for AK (Anson Kong) fans, which deeply moved the film's crew. If you're interested in hearing more, the interview can be listened to now.


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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and...

We interview director Lawrence Lau of Spacked Out on the impressionistic, romantic style of his film, working with Johnnie To, and what the hell “spacked out” actually means!

Films mentioned:
Spacked Out《無人駕駛》
Gangs《童黨》
Queen of Temple Street《廟街皇后》
Lee Rock《雷洛傳》

Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments

「香港電影史導論 Podcast第五集」討論大網

有關這系列的Podcast, 詳情請看這裡。


第五集「香港電影在1960年代的變遷」


討論大網：

1960年代的香港影業基本上延續1950年代，主要的導演和編劇都是1950年代初已入行的一批，創作觀念上改變不大。但1960年代香港的經濟已擺脫1950年代的貧困局面而進入小康。粵語片方面，類型也就由淒慘的文藝片逐漸轉向「小康之家式」中產小夫妻喜劇以至歌頌自食其力的「工廠妹萬歲」電影，也有關心下一代會否學壞的青春片，並由此出現陳寶珠、蕭芳芳的影迷熱潮。國語片方面，經濟成長也造就一種追求個性解放的心態，造就了張徹以陽剛為號召的武俠片，從而把香港電影以至中國電影的女明星主導的傳統徹底改變。


在這第五集的podcast， 我們一共分開三節，每節的主題如下：

5.1  60年代香港電影產業的總體特色、以及重點討論了三種粵語流行電影類型, 包括武俠片、小夫妻喜劇、青春歌舞電影。

5.2 60年代流行的張徹的國語武俠電影如何範式轉移影響日後的香港電影，另外我們也重點討論了楚原和龍剛的電影

5.3 60年代電影產業的一些特有現象，以及六七暴動和無線電視廣播對香港電影的影響，及至最後香港粵語片停產的原因。


Outline of Introduction to Hong Kong Film Industry Podcast Part 5

About this series of podcasts, please check here.

Episode 5: “Changes in Hong Kong Cinema in the 1960s”

The 1960s for the Hong Kong film industry was, for the most part, a continuation of the 1950s. Many key directors and screenwriters of the era had their origins rooted in the group that emerged in the 1950s; as such, creative theories in regard to filmmaking changed little during this time. 

However, during the 1960s, Hong Kong’s economy had begun to break off from the economically impoverished state of the 1950s, entering instead into a relative period of prosperity. 

For Cantonese cinema, tragic art films were gradually replaced by “Family Style” middle-class and young family comedies. These films celebrated the self-supported “Factory Girl” and youth films that focused on the worry of a new generation that might be led astray. These gave rise to then-upcoming stars like Connie Chan Po-chu and Josephine Siao Fong-Fong, who had fervent film fanbases. 

As for Mandarin Films, their economic growth created an attitude of pursuing individual freedom, leading to Chang Cheh's use of Wuxia films to appeal to masculine audiences—completely changing the tradition of fe

「香港電影史導論 Podcast第五集」討論大網

有關這系列的Podcast, 詳情請看這裡。


第五集「香港電影在1960年代的變遷」


討論大網：

1960年代的香港影業基本上延續1950年代，主要的導演和編劇都是1950年代初已入行的一批，創作觀念上改變不大。但1960年代香港的經濟已擺脫1950年代的貧困局面而進入小康。粵語片方面，類型也就由淒慘的文藝片逐漸轉向「小康之家式」中產小夫妻喜劇以至歌頌自食其力的「工廠妹萬歲」電影，也有關心下一代會否學壞的青春片，並由此出現陳寶珠、蕭芳芳的影迷熱潮。國語片方面，經濟成長也造就一種追求個性解放的心態，造就了張徹以陽剛為號召的武俠片，從而把香港電影以至中國電影的女明星主導的傳統徹底改變。


在這第五集的podcast， 我們一共分開三節，每節的主題如下：

5.1  60年代香港電影產業的總體特色、以及重點討論了三種粵語流行電影類型, 包括武俠片、小夫妻喜劇、青春歌舞電影。

5.2 60年代流行的張徹的國語武俠電影如何範式轉移影響日後的香港電影，另外我們也重點討論了楚原和龍剛的電影

5.3 60年代電影產業的一些特有現象，以及六七暴動和無線電視廣播對香港電影的影響，及至最後香港粵語片停產的原因。


Outline of Introduction to Hong Kong Film Industry Podcast Part 5

About this series of podcasts, please check here.

Episode 5: “Changes in Hong Kong Cinema in the 1960s”

The 1960s for the Hong Kong film industry was, for the most part, a continuation of the 1950s. Many key directors and screenwriters of the era had their origins rooted in the group that emerged in the 1950s; as such, creative theories in regard to filmmaking changed little during this time. 

However, during the 1960s, Hong Kong’s economy had begun to break off from the economically impoverished state of the 1950s, entering instead into a relative period of prosperity. 

For Cantonese cinema, tragic art films were gradually replaced by “Family Style” middle-class and young family comedies. These films celebrated the self-supported “Factory Girl” and youth films that focused on the worry of a new generation that might be led astray. These gave rise to then-upcoming stars like Connie Chan Po-chu and Josephine Siao Fong-Fong, who had fervent film fanbases. 

As for Mandarin Films, their economic growth created an attitude of pursuing individual freedom, leading to Chang Cheh's use of Wuxia films to appeal to masculine audiences—completely changing the tradition of fe

🕵️ 🔎 👁️‍🗨️為了希望更多人了解《白日之下》這部電影的幕後故事，「銀幕·香港」很開心邀請了前資深記者，也就是揭發《白日之下》幾組故事的偵查組組長蔡傳威先生（人稱蔡仔），跟我們錄製了這一集podcast。 蔡仔除了解釋當天偵查新聞背後的故事外，還分享了對電影的看法。

🖊️🖊️🖊️ 延伸閱讀：
🔴 我們的偵查時代：曾揭發《白日之下》老人院露天沖涼事件 「爆料」以外 前資深偵查記者着眼深化議題：Newsroom的人相信記者支筆可影響世界
https://shorturl.at/beiLU


🕵️ 🔎 👁️‍🗨️ To help more people understand the behind-the-scenes story of the film IN BROAD DAYLIGHT, HKOS is delighted to invite the veteran journalist Mr. Edward Choi, who was the head of the investigative team that uncovered several stories related to IN BROAD DAYLIGHT to record this podcast episode with us. Besides explaining the stories behind the investigative news that day, Mr. Choi shares his perspectives on the film.



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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.



Support the show: https://www.hkonscreen.org/giving


Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments


#INBROADDAYLIGHT
#白日之下

🎞️🎞️🎞️ 早前在「銀幕香港Indie電影網上展」，一連展出了三部崔允信的作品，分別是《無花果》(2013)、《憂憂愁愁的走了》(2002)以及《三條窄路》(2009)，在這一集，我們跟導演詳談了三部電影的創作過程，以及今天當下觀賞這三部舊作的意義。討論的問題眾多，例如：

👉電影裡面的宗教意識相當明顯，導演自已是有宗教信仰呢？
👉三部電影均有外地取景，當年拍攝時有遇到困難嗎？
👉是不是一直只會拍獨立製作？
👉《憂憂愁愁的走了》還有另一個結局？
👉為什麼拍電影要趁年輕盡快拍？
👉這三部獨立電影有在香港或其他地方公開放映過嗎？
👉導演是如何根據劇本去拍攝電影呢？
👉三部電影的文本可以互讀嗎？
👉往後還有拍攝計劃嗎？
👉海外華人可以如何支持香港的獨立製作呢？

🎞️🎞️🎞️ Earlier, in the 'HKOS Indie Film Online Showcase,' we showed three films from director Vincent Cui: 'Fig' (2013), 'Leaving in Sorrow' (2002), and 'Three Narrow Gatess' (2009).  

In this episode, we discussed the creative process of these three films and the significance of watching these works today with the director. Many questions were discussed, such as:

👉 The religious consciousness inside the films is quite prominent. Does the director himself have a religious belief?
👉 All three films were shot in locations outside Hong Kong. Did the director encounter any difficulties during the filming?
👉 Does the director only focus on independent productions?
👉 Does 'Leaving in Sorrow' have an alternate ending?
👉 Why should one make movies when young and as soon as possible?  
👉 Have these three independent films been publicly screened in Hong Kong or elsewhere?
👉 How does the director shoot films based on the script?
👉 Can the texts of these three films be read about each other?
👉 Are there any future film projects?
👉 How can overseas Chinese support independent productions in Hong Kong?

「香港電影史導論 Podcast第五集」討論大網

有關這系列的Podcast, 詳情請看這裡。


第五集「香港電影在1960年代的變遷」


討論大網：

1960年代的香港影業基本上延續1950年代，主要的導演和編劇都是1950年代初已入行的一批，創作觀念上改變不大。但1960年代香港的經濟已擺脫1950年代的貧困局面而進入小康。粵語片方面，類型也就由淒慘的文藝片逐漸轉向「小康之家式」中產小夫妻喜劇以至歌頌自食其力的「工廠妹萬歲」電影，也有關心下一代會否學壞的青春片，並由此出現陳寶珠、蕭芳芳的影迷熱潮。國語片方面，經濟成長也造就一種追求個性解放的心態，造就了張徹以陽剛為號召的武俠片，從而把香港電影以至中國電影的女明星主導的傳統徹底改變。


在這第五集的podcast， 我們一共分開三節，每節的主題如下：

5.1  60年代香港電影產業的總體特色、以及重點討論了三種粵語流行電影類型, 包括武俠片、小夫妻喜劇、青春歌舞電影。

5.2 60年代流行的張徹的國語武俠電影如何範式轉移影響日後的香港電影，另外我們也重點討論了楚原和龍剛的電影

5.3 60年代電影產業的一些特有現象，以及六七暴動和無線電視廣播對香港電影的影響，及至最後香港粵語片停產的原因。


Outline of Introduction to Hong Kong Film Industry Podcast Part 5

About this series of podcasts, please check here.

Episode 5: “Changes in Hong Kong Cinema in the 1960s”

The 1960s for the Hong Kong film industry was, for the most part, a continuation of the 1950s. Many key directors and screenwriters of the era had their origins rooted in the group that emerged in the 1950s; as such, creative theories in regard to filmmaking changed little during this time. 

However, during the 1960s, Hong Kong’s economy had begun to break off from the economically impoverished state of the 1950s, entering instead into a relative period of prosperity. 

For Cantonese cinema, tragic art films were gradually replaced by “Family Style” middle-class and young family comedies. These films celebrated the self-supported “Factory Girl” and youth films that focused on the worry of a new generation that might be led astray. These gave rise to then-upcoming stars like Connie Chan Po-chu and Josephine Siao Fong-Fong, who had fervent film fanbases. 

As for Mandarin Films, their economic growth created an attitude of pursuing individual freedom, leading to Chang Cheh's use of Wuxia films to appeal to masculine audiences—completely changing the tradition of fe

《消失的檔案》(2017) 是其中一部在「銀幕·香港」香港Indie電影網上展放映的電影 (詳情：https://www.hkonscreen.org/indie-home）。

在這一集Podcast, 羅恩惠導演談到在《消失的檔案》拍攝過程中追溯到的在這一歷史事件中扮演重要角色的一些人，以及影片在製作後期及放映時遇到的一些困難和回瞶。


（1）吳荻舟在六七暴動中扮演的重要角色
（2）參加六七暴動的人呈現出很不同的面目：廖一原，羅孚，劉文成，曾宇雄，梁慕嫻... 15:00
（3）影片製作後期遇到的困難及放映過程中觀眾的回瞶 1:02:00
（4）香港作為殖民地與六七暴動的關係？為什麼六七暴動不是反殖運動？1:14:00

Vanished Archives (2017) is one of the films featured in the HKOS Indie Film Online Showcase (for more info: https://www.hkonscreen.org/indie-home).

In this episode, the Director of "Vanishing Archive" details some important incidents and characters she discovered about the 1967 Riot. Director Connie Yan-wai Lo also recounts some difficulties and feedback she has encountered in the film's post-production and reception.


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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.



Support the show: https://www.hkonscreen.org/giving

Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments

《消失的檔案》(2017) 是其中一部在「銀幕·香港」香港Indie電影網上展放映的電影 (詳情：https://www.hkonscreen.org/indie-home）。

在這一集Podcast, 羅恩惠導演談到《消失的檔案》(2017) 這個紀錄片的創作源起，在2017六七暴動五十週年前後香港傳統左派重述歷史的企圖，以及導演在尋找材料和追訪的過程中發現的種種現存歷史敘述、訪問口敘、與檔案史料之間的差異。

（1）《消失的檔案》在當下放映的意義 4:00
（2）六七暴動與2019 的可比性，它對當下的警惕、共鳴、與連結 8:00
（3）在影片創作的過程中，2012-2017這幾年間，香港傳統左派在暴動五十週年前後如何敘述這段歷史？19:50
（4）影片製作過程：團隊，資金，與左派敘述的分歧 36:00


Vanished Archives (2017) is one of the films featured in the HKOS Indie Film Online Showcase (for more info: https://www.hkonscreen.org/indie-home).

In this episode, the Director of "Vanishing Archives (2017)" speaks to the origin of the project and the attempt by Hong Kong's traditional Leftists to revisit and rewrite the history of the 1967 Riot at the incident's 50th Anniversary in 2017. Most importantly, Director Connie Yan-wai Lo reveals what she has discovered about this history in the process of researching for the film, especially on the discrepancies between the narration of the traditional Left and what she has found in the archive. 



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The Hong Kong On Screen Podcast is a podcast about Hong Kong Cinema. The HKOS Podcast is hosted by Hong Kongers. You can follow us on Twitter, Facebook, and Instagram. You can also email us at info@hkonscreen.org.



Support the show: https://www.hkonscreen.org/giving

In this episode, director Cheuk Cheung joins us to discuss several aspects of his documentary Bamboo Theatre, including the behind-the-scenes process, his direct cinema stylistic choices, and the context of several important sections.

Bamboo Theatre is screening as part of HKOS’s Indie Film Online Showcase, from Oct. 30 to Nov. 5, 2023.

Films mentioned:
Bamboo Theatre《戲棚》
My Way《乾旦路》
My Next Step《一個武生》
Farewell My Concubine《霸王別姬》
Hu-Du-Men《虎度門》
Two Stage Sisters《舞台姐妹》
A City of Sadness《悲情城市》

Leave a comment and share your thoughts: https://open.firstory.me/user/cl55om7v70ekf01t9ff6n3tkt/comments

《3CM》(2019) 是其中一部在「銀幕·香港」香港Indie電影網上展放映的電影 (詳情：https://www.hkonscreen.org/indie-home）。《3CM》(2019)看似一個微不足道的距離，卻是結節性硬化症病人生死存亡的指標，影響他們能否得到合適的藥物。電影由兩位背景各異的病友媽媽的角度出發，走訪他們爭取生存權利和尊嚴的歷程，從而探討公共政策及社會公義等課題。《3CM》(2019)不只是罕見病病友的故事，也是香港人的故事。

「銀幕·香港 Podcast」在這一集邀請了《3CM》(2019)的導演黃肇邦一起討論了：

1. 為何導演揀選罕見病這個比較特別的題材？拍攝紀錄片的緣起是？
2. 藥物政策、醫療倫理、公共衛生等議題都相對沉重而複雜，亦需要很多資訊才能令到一般觀眾理解，導演又如何平衡不同素材，同時可以牽動觀眾，令人想繼續觀看呢？
3. 拍攝紀錄片就跟人生一樣無法預計，在剪輯過程中，遇到甚麼困難？如何選取、編排素材？
4. 電影把焦點放在照顧者社群和他們爭取權益的歷程上，而不是集中描繪罕見病病友的嚴峻病況，為何會有這樣的安排？
5. 紀錄片中被訪者都十分真誠和信任地講出心聲，導演是如何建立這份關係？
6. 電影其中一個核心訊息是為自己發聲、嘗試帶出改變。我們看到片中被訪者如何發聲，那麼對導演來說，何謂發聲？
7. 電影最後以一個對比鮮明的畫面作結，期望帶出甚麼訊息？
8. 之前在香港本地放映，受疫情所限未必能接觸到很多觀眾，是次網上放映則可以接觸到海外觀眾，導演有甚麼看法？
9. 可以透露一下接下來的電影項目嗎？

3CM (2019) is one of the films featured in the HKOS Indie Film Online Showcase (for more info: https://www.hkonscreen.org/indie-home). Despite its seemingly insignificant distance, 3CM (2019) serves as a crucial marker of life and death for patients with tuberous sclerosis, impacting their ability to access the proper medication. The film takes the perspective of two mothers from diverse backgrounds who embark on a journey to fight for their right to survival and dignity, thereby exploring issues related to public policy and social justice. 3CM (2019) is not only a story of rare disease patients but also a story of the people of Hong Kong.

In this episode, director Wong Siu-pong of 3CM (2019) joins the discussion to explore:

The Artistic Director of the San Diego Asian Film Festival Brian Hu returns to our podcast! In this mega episode, we unveil the inner workings of a major film festival and dive into highlights from this year’s edition, including the three Hong Kong films in the official selection – Mad Fate, Elegies, and Farewell My Concubine. Later, Brian discusses his thoughts on contemporary Hong Kong and Asian cinema, and gives advice to filmmakers looking to submit.

Movies mentioned:
Drug War《毒戰》
Romancing in Thin Air《高海拔之戀II》
Don’t Go Breaking My Heart《單身男女》
The Oath of the Sword
Youth (Spring)《青春》

💙💙💙 影片《霸王別姬》改編自🇭🇰香港女作家李碧華的同名小說。這部由陳凱歌導演，蘆葦編劇，張國榮🇭🇰、鞏俐、張豐毅、葛優等人領銜主演的電影，堪稱集齊大陸、香港、臺灣兩岸三地之財力、物力及人力合作創制而成的經典之作。作爲華語影壇藝術成就最高且享有世界盛譽的旗幟級影片，《霸王別姬》自1993年問世以來，贏得了億萬影迷青睞，打破了中國內地文藝片在美國的票房紀錄，並爲陳凱歌一舉拿下1993年度法國康城影展的最高榮譽金棕櫚大獎、美國金球獎最佳外語片、國際影評人聯盟大獎等多項國際榮譽，2005年《霸王別姬》入選美國《時代週刊》評選的「全球史上百部最佳電影」，畫下了陳凱歌導演藝術生涯最爲濃墨重彩的一筆。

🌟🌟🌟 當這部電影於1993年進入美國影院時，Miramax 的哈維·韋恩斯坦 (Harvey Weinstein) 從電影中删了14分鐘。現在，Film Movement Classics將以全長171分鐘的完整版重新回到影院。該發行商將於9月22日在紐約市的Film Forum推出北美影院的最新修復4K版本。洛杉磯的觀衆可以在9月29日在Nuart觀看這個版本。

為了隆重其事，我們製作了四集podcast， 邀請了四名學者，從各自的領域探討《霸王別姬》這部華語電影的重要性。四集節目中，兩集以英語進行，另兩集會以廣東話錄音。

在最後一集，請來了約翰霍普金斯大學的孔誥烽教授來跟我們討論了《霸王別姬》裡面的中國歷史觀如何不合當今的官方論述；另外，電影中的對文革的描述跟今天官方的主導思想有何異同呢？

💙💙💙 The film "Farewell My Concubine" is adapted from the novel of the same name by 🇭🇰Hong Kong writer Lilian Lee. Directed by Chen Kaige, written by Lu Wei, and starring Leslie Cheung🇭🇰, Gong Li, Zhang Fengyi, Ge You, and others, this movie can be considered a classic collaboration that brought together financial, material, and human resources from Mainland China, Hong Kong, and Taiwan. As a flagship film with the highest artistic achievements in the Chinese-language film industry and enjoying worldwide acclaim, "Farewell My Concubine" has been beloved by millions of fans since its release in 1993. It broke the box office records for mainland Chinese art films in the United States. It won numerous international honors for Chen Kaige, including the Palme d'Or at the 1993 Cannes Film Festival, the Golden Globe Award for Best Foreign Language Film, and awards from the International Federation of Film Critics. In 2005, "Farewell My Concubine" was selected as one of the "100 All-Time Best Films" by Time magazine, marking a brilliant chapter in Chen Kaige's directorial career.

🌟🌟🌟 When the film reached US theaters in 1993, Miramax's Harvey Weinstein cut 14 minutes from the movie. Film Movement is now being returned to theaters in its full 171-minute glory, courtesy of Film Movement Classics. The distributor will release a newly restored 4K version in North American theaters beginning September 22 at the Film Forum in New York City.  

Audiences in Los Angeles can see this version on the big screen on September 29 at the Nuart Theatre.  

To make it grand, we produced a

Continuing our 4-part series on the seminal film Farewell My Concubine, Prof. Chris Berry joins us to discuss the film in the context of the Fifth Generation of Chinese cinema, its queer representation, and its taboo depiction of the Cultural Revolution.

Films mentioned:
Farewell My Concubine《霸王別姬》
Serfs《農奴》
To Live《活着》
Hero《英雄》
Yellow Earth《黃土地》
Red Sorghum《紅高粱》
Blue Kite《藍風箏》
Horse Thief《盜馬賊》
A City of Sadness《悲情城市》
The Battle at Lake Changjin《長津湖》
The Battle at Lake Changjin II《長津湖之水門橋》
Full River Red《滿江紅》
East Palace West Palace《東宮西宮》

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