Twentysomething Japanese tourist, Tokio, comes to Hong Kong looking for good cusine. He does all that the tourist is expected to do, but is disappointed with the food so far. By chance, he ... See full summary »
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The Dark Horse is an emotionally-charged and inspiring drama about a man who searches for the courage to lead, despite his own adversities - finding purpose and hope in passing on his gift to the children in his community.
James Napier Robertson
Twentysomething Japanese tourist, Tokio, comes to Hong Kong looking for good cusine. He does all that the tourist is expected to do, but is disappointed with the food so far. By chance, he meets 15-year-old Pui Wai. She's been left behind with her eighty-year-old Granny, her parents too busy with their immigration problems in Canada. Differences in culture, language and age serve as no barrier, as Tokio finds a soulmate in Granny, Hong Kong cook extraordinate. He discovers the secret to Granny's cooking and learns that she's known all along that her family will not be taking her to Canada when they leave. Written by
L.H. Wong <email@example.com>
The situation is simple: a young Japanese man, about 25, from Tokyo (and called Tokio) comes to Hong Kong in search of cheap consumer goods, sex, and, above all, good Chinese food. He accidently meets a 15 year old, Li Piu Wai, and immediately develops an unlikely, offbeat friendship with her that borders on soul matehood. Luckily she lives alone with her grandmother who is a superb cook, a natural feeder, and who asks no questions. They communicate in somewhat pained English, as he knows no Chinese and she no Japanese. Director Law carefully shows that each has their own separate romantic and/or sexual world apart from the other. She with a Chinese high school student and he with an older Japanese woman he meets. To me, the separate relationships were more interesting that the one between Li Piu Wai and Tokio which had its moments but which also rang false fairly often, even irritatingly so at times. I still liked the film but not as much as I might have.
One interesting thing was that while it showed Hong Kong vividly (sometimes through Tokio's recently purchased video camera--which he should take back since it seems to only shoot in monochrome), it was a Hong Kong with almost no people in it. I don't remember there ever being more than 4 people on screen at once and that was rare: a singular approach to teeming Hong Kong.
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