Lon­ging for some­thing… | Hong Kong Short Films

29.4. | 20 Uhr

Hong Kong 2021 | 91 Minu­ten | Kurz­film­pro­gramm | Kan­to­ne­sisch mit eng­li­schen Unter­ti­teln | R: dive­re

“Lon­ging for some­thing…” is pre­sen­ted by “HK.kino.berlin”. What is „lon­ging“? It’s the desi­re of cra­ving some­thing that is unat­tainable or distant. Espe­ci­al­ly after the mass migra­ti­on wave in Hong Kong, we are lon­ging for a con­nec­tion, a sen­se of belon­ging, or a place that doesn’t exist. The­se films exem­pli­fy the artists‘ obser­va­ti­on in depic­ting indi­vi­du­als‘ inti­ma­te phy­si­cal rela­ti­onships and emo­tio­nal jour­neys through recon­s­truc­ting memo­ries.

1. POV (HK 2021 – 22 min – R: Hei­wa Wong)

POV, lite­ral­ly stands for Point of View (a cate­go­ry of por­no­gra­phic films), is a dance film con­cer­ning a duo rela­ti­onship bet­ween two beings. Duo, in the con­text of dance, often impli­es that one takes the lead and the other fol­lows (and their roles can be swap­ped or blur­red). Taking the ele­ments of ero­tic move­ments from sexu­al inter­cour­se, POV dis­plays the dyna­mics of a duo rela­ti­onship in an exposed-but-obscure con­di­ti­on whe­re che­mis­try can be obser­ved. The ten­si­on (not neces­s­a­ri­ly inten­si­ve) bet­ween two beings inter­wea­ves with inti­ma­cy and forms a hard-to-precisely-describe rela­ti­onship.
“Let’s have a duo, shall we?”

2. Memo­ry Palace (HK 2020/2021 – 17 min – R: Doro­thy Cheung)

Memo­ry Palace is a moving image work explo­ring memo­ries atta­ched to the per­so­nal objects of eth­nic Chi­ne­se peo­p­le in Man­ches­ter. The­se objects tell extre­me­ly per­so­nal sto­ries that reflect the com­ple­xi­ty of living bet­ween two worlds and navi­ga­ting mul­ti­ple iden­ti­ties, not only as an eth­nic Chi­ne­se per­son living in the UK, but also as an LGBTQ indi­vi­du­al, seni­or citi­zen, adop­tee, artist, or first-generation immi­grant. The work chal­lenges con­ven­tio­nal under­stan­dings of the Chi­ne­se com­mu­ni­ty, ques­tio­ning what it means to be an eth­nic Chi­ne­se indi­vi­du­al in this city and high­light­ing the gre­at spec­trum of iden­ti­ties bey­ond natio­na­li­ty.

3. Tug­ging Dia­ry (HK 2021 – 16 min – R: Yan Wai Yin)

Tug­ging Dia­ry docu­ments a foot­bridge in Hong Kong during the peri­od of pro­test, ral­lies, and strikes. Both the inter­net and phy­si­cal spaces act as cri­ti­cal com­mu­ni­ca­ti­on plat­forms. Infor­ma­ti­on cir­cu­la­tes more wide­ly and rapidly out­side the main­stream media. The­se mes­sa­ges are con­ti­nuous­ly being alte­red, remo­ved, rene­wed, or over­laid with other infor­ma­ti­on.

4. B side (HK 2022 – 24 min – R: Yung Tsz Hong)

Ning is from Main­land Chi­na. She moved to Hong Kong to live with her local boy­fri­end. The sud­den death of her boy­fri­end made her need to re-adjust to ever­y­thing in life. The sto­ry tra­vels through Ning’s thoughts and dreams, thin­king about the rela­ti­onship bet­ween peo­p­le and the city as a stran­ger visi­on.

In Anwe­sen­heit der Kura­to­rin Eri­ca Kwok, mit anschlie­ßen­dem Gespräch!