BRITAIN'S most celebrated art-house movie director, Peter Greenaway, was in town last week to shoot part of his latest film The Pillowbook, which would also be filmed in Japan and Luxembourg. The plot revolves around a Hong Kong-based Japanese model, Nagiko, who derives erotic pleasure from her lovers when they practise calligraphy on her body, until her English boyfriend persuades her to write poetry herself - on his body. She sends him to a publishing firm, where he strips and persuades them to transcribe the verse and put it out in a book. Unfortunately, he dies as Nagiko writes a final, searingly emotional poem on his flesh. And the publisher is so covetous of it that he digs up the corpse and flays the skin from it. Frantic to get her lover's hide back, Nagiko sends man after poetry-covered man to the publisher, until he agrees to return the skin. Then she buries it in the soil surrounding a bonsai tree which bursts into spectacular flower. Those unfamiliar with Greenaway's oeuvre will be arching their eyebrows in disbelief, while devotees who have sat through The Draughtsman's Contract, Belly Of An Architect, Prospero's Books and The Cook, The Thief, His Wife And Her Lover will be smiling affectionately. Whatever your view of Greenaway, you are not likely to be able to reinforce it by watching The Pillowbook in Hong Kong. The quest for profits means it's highly unlikely to hit movie screens here despite the local backdrop, and it probably won't be in the rental rack of your 7-Eleven either.