Hong Kong used to be a global player in the television, film and music sectors but the shine has worn off in the past couple of decades; now is the time for a reboot.
Censors are now allowed to decide whether films breach so-called red lines, but the rules remain murky to many.
Horror anthology series Tales from the Occult returns to take on the slasher horror genre with a fun, if forgettable, trio of films in the anthology series in Body and Soul.
In Johnny Mak’s Long Arm of the Law there are no heroes. Frank Djeng, who provides the commentary for 88 Films’ forthcoming Blu-ray release of the classic Hong Kong film, explains why.
68 years old today, Hong Kong actor Chow Yun-fat – ‘fat gor’ to his many fans – cut his teeth in movies 4 decades ago. We recall four early films that helped launch his career, including a gangster classic.
With her unaffected, natural quality Anita Yuen stood out, a critic said, and it helped her land roles playing forthright women. Peter Chan made her his muse, but she was said to have a short fuse.
Writer-director Gilitte Leung’s second feature, Social Distancing, is a pandemic-set Hong Kong horror thriller filled with interesting ideas that is ultimately let down by dreadful storytelling.
Oxide Pang’s second film about firefighting plays more like a military thriller, with plenty of rousing speeches, but its plot is weak and its one-dimensional characters play second fiddle to the pyrotechnics.
Hong Kong filmmaker Chan Kin-long was an actor before his award-winning directing debut, but today, with models and KOLs calling themselves actors – ‘It’s a joke, really’ – sees his future more behind the camera.
For Wong Kar-wai, characters determine plot. For Wong Jing, filmmaking means giving audiences what they want. Film directors’ comments about their approach to movie making tell us a lot.
In a candid interview, filmmaker and director Johnnie To talks about censorship, losing money in the 2008 financial crisis, the possibility of Election 3 and the burden of hope in Hong Kong.
Filmed in six weeks, Chungking Express has an improvisatory feel. It features a memorable turn by singer Faye Wong, in her first film, and won Tony Leung Chiu-wai best actor at the Hong Kong Film Awards.
Stephy Tang and Edward Ma star in Twelve Days, a bleak marriage drama that is a pale echo of writer-director Aubrey Lam’s hit 2000 romance Twelve Nights.
Enter the Dragon made Bruce Lee a household name upon its release in 1973. It remains the late martial arts idol’s most popular work, but was it his masterpiece? Experts weigh in.
Lam Ka-tung and Mirror’s Lokman Yeung try to exert their free will and change their destiny in director Soi Cheang’s Hong Kong-set genre thrill ride with a dash of fantasy thrown in.
The Udine Far East Film Festival has attracted a galaxy of Hong Kong stars, from Jackie Chan and Donnie Yen to Brigitte Lin. Ahead of its 25th anniversary, organisers recall some of the high points.
Maggie Cheung puts in a career-defining performance as ‘China’s Greta Garbo’ Ruan Lingyu in Center Stage, and its director, Stanley Kwan, feels that she discovered how to be a true actress while making the film.
Post film editor Edmund Lee picks the likely winners in all 19 categories at Sunday’s awards ceremony, which The Sparring Partner is likely to dominate and where recent Oscar winner Michelle Yeoh is expected.
Sylvia Chang’s Golden Horse-winning performance as a grieving widow anchors this gentle story of loss in which Hong Kong’s iconic but disappearing neon signs are the real star.
The 1990s was the last golden age of Hong Kong cinema, with a slew of groundbreaking films that produced new stars such as martial arts actor Jet Li and art-house darling Wong Kar-wai.
A love letter to kung fu stuntmen, Ride On pays homage to Chan’s most memorable films such as Police Story and Dragon Lord – it is ironic, then, that it is a horse that steals the show.
Teresa Mo, Ronald Cheng and Wong You-nam star in comedy drama Over My Dead Body, which pokes fun at Hong Kong’s property market and the city’s negative social climate in recent years.
‘Hong Kong actress Amy Yip owes her fame to her figure,’ wrote the Post in 1990 of the city’s sex symbol – who insured her breasts for US$250,000 and made her mark in erotic films without ever baring all.
Anthony Wong and Sahal Zaman represent refugees from different generations in Hong Kong-based Malaysian director Lau Kok-rui’s first feature film.
From the first public screenings in 1897 to the first Chinese film shot in the city, the first film studio, the first Cantonese ‘talkie’ and the eventual supremacy of Mandarin-language films, a short history of Hong Kong cinema.
The 47th Hong Kong International Film Festival makes a full return after three years of Covid-19 pandemic disruptions. From Mad Fate and Vital Sign to Aftersun, we pick 10 highlights not to be missed.
Festival is part of the ‘Hello Hong Kong’ tourism campaign but only some of the tickets will go to visitors, officials tell lawmakers.
In interviews with the Post down the years, Tony Leung talked about being tricked by Wong Kar-wai on Happy Together, how he hated having his hair shaved off for a role, and why he considers himself a shy person.
Leung honoured for role in crime thriller Where the Wind Blows, while Drive My Car from Ryusuke Hamaguchi wins best film, best editing and best original music.