Special feature of 1905 film network After experiencing the confused period of hunger and thirst for Hong Kong flavor, the achievements of Hong Kong films in nurturing new people are becoming increasingly apparent. From the nomination list of the 36th Academy Awards, it can be seen that the new director can finally compete with the famous veteran. Ceng Guoxiang was nominated for 12 nominations, and "Five Steps" won 8 nominations each. Yiu-Fai Law, Roy Szeto and Wen Weihong all won the favor of the judges.
Compared with the 32nd Hong Kong Film Awards, five best films nominated four policemen and robbers, and the 33rd Hong Kong Film Awards was the only one in which the crew celebrated and reveled. The nomination list of this year’s Hong Kong Film Awards moved the newcomers from the corner gallery to the grand main hall, but it was full of bright vitality, which also showed the practical and powerful direction of localization of Hong Kong films.
After the emergence of the academic school, the new "Hong Kong flavor" struck.
In recent years, Hong Kong creators have been trying to find the local characteristics with the most cultural affinity, and the low-cost art cinema has become the mainstream theme of the new generation. From, to, to, and are all trying to describe the local cultural memory of Hong Kong.
This year’s Hong Kong local film "Five Steps" directed by the new director Chen Zhifa tells the story of the Hong Kong junior baseball team in the 1980s. It was highly praised after being shown at the Hong Kong International Film Festival last year, and the local box office in Hong Kong also reached 4.5 million (source: Hong Kong Film Association data);
Chun Wong’s "Ignorance of One Mind" is based on a real news case in Hong Kong, which shows the indifference of society to mental patients with a family tragedy. It also won the best new director award for Huang Jin at the 53rd Golden Horse Award.
A similar set of "Peeling Dad", with a 76-year-old demented father returning to different periods of 60, 52, 37, 28 and 19 in seven days, points out the affection between father and son, and the film was also shortlisted for the main competition unit of the 29th Tokyo International Film Festival.
The enthusiasm for the creation of Hong Kong films is returning, and under the given conditions, newcomers have a stronger preference for literary realistic themes.
In fact, the late 1980s and 1990s were the golden age of Hong Kong films, and art cinema was once prosperous. The feminine style of,, and so on; , focus on same-sex feelings; The quiet alternative aesthetics, as well as the realism and prosaic sadness distributed by Durian Fluttering, have shaped the "best time" of Hong Kong literary films.
However, unlike the situation that Xu Anhua, Zhang Wanting and other returnees became "non-mainstream" among Hong Kong film directors at that time, Chun Wong and Chen Zhifa, new academic directors with social care consciousness, are gradually stepping into the mainstream of Hong Kong local films.
It is unfortunate and fortunate for these new directors that they were not born in the golden age of Hong Kong movies. In those days, the "excessive madness" under the opportunity of everywhere gave rise to many materialistic aspects in impetuousness; Five years ago, under the change of the general environment in which famous directors in Hong Kong went northward to seek co-productions, Hong Kong films had a period of confusion and fear about how to convey Hong Kong’s unique cultural memory and how to stick to the "Hong Kong flavor". Today’s Hong Kong culture tends to be weak, but the new directors can get rid of the clouds and get more calm space for reflection. On the contrary, they can strengthen their emotional connection with local culture and easily tap more valuable narrative content.
Some critics still question the current Hong Kong films with the cliche of "the loss of Hong Kong flavor", and frame the nomination list of the new Academy Awards with past prejudices. Exploring the source, what is the "Hong Kong flavor" that we are attached to nostalgia?
People can’t forget the colorful secular noise of Hong Kong films in the video tapes in 1970s and 1980s, but it’s basically a style in which entertainment permeates details, details construct stories, and stories show ideas. Among them, funny dramas are the most representative, from the Xu Guanwen era, which was popular to Stephen Chow’s Wulitou series, which dominated for a while. These films are based on firmly grasping the social pulse after the 1997 crisis and stepping on the drums of the Hong Kong era to reach people’s hearts, thus creating a generation of Hong Kong films.
Now that the times have changed and the environment is different, can dreamers still stay where they are? Newcomers and new things, with the attitude of keeping pace with the times, draw new works that are in line with the current reality, in order to open up a breakthrough space. The pursuit of Hong Kong’s old film complex and the emphasis on "Hong Kong flavor" are more like daydreaming floating in reality.
Next page:The reincarnation of Hong Kong film classics
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