Top five films to watch in Hong Kong this week (May 18-24), from Graduation to Get Out

The film that was a surprise hit on its US release, Romanian director’s return to form, a terrifying teacher’s tale, Chrissie Chau and Joyce Cheng in a tender slice-of-life turn, and Alien: Covenant make up our must-sees this week

PUBLISHED : Thursday, 18 May, 2017, 8:32am
UPDATED : Thursday, 08 June, 2017, 6:53pm

Click on film titles to read SCMP.com reviews

1. Graduation

A decade on from his modern masterpiece 4 Months, 3 Weeks and 2 Days , Cannes-winning director Cristian Mungiu remains one of the Romanian New Wave’s leading figures. This morally complex drama about the corrupt bureaucratic culture of post-communist Romania is easily his best film since. (Opens on May 18)

2. Get Out

Liberal racism and sci-fi horror make for unusual bedfellows in writer-director Jordan Peele’s breakout debut, which, through the shockingly sinister tale of a black man meeting his white girlfriend’s family for the first time, busts the myth of a “post-racial” America with both humour and terror. (Opens on May 18)

3. The Teacher

Known for his Oscar-nominated war dramedy Divided We Fall, Czech director Jan Hrebejk has created another potential hit with his first Slovak-language film, which features a stunning performance by Zuzana Maurery as a terrifying middle-school teacher who heads the local Communist Party branch. (Opens on May 18)

4. Alien: Covenant

It’s been years since anyone was genuinely scared by an Alien movie, and Ridley Scott has finally righted the course with this terrifying sequel. Despite Fantastic Beasts star Katherine Waterston’s Ripley-like part, however, it’s Michael Fassbender’s return as an enigmatic android which steals the show. (Now showing)

5. 29+1

In what are surely two of the most sensitive parts they’ve been offered in their so far less-than-stellar screen careers, Chrissie Chau and Joyce Cheng excel as a pair of Hong Kong women on the verge of turning 30 in this gripping adaptation of actress-playwright Kearen Pang’s one-woman play. (Now showing)

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