In 1997, Little Cheung is a street-wise nine-year-old boy living in a bustling neighbourhood of Hong Kong, just before the reunification with China. His parents are always working at their ... See full summary »
It is July 1st of 1997, and Hong Kong is bright in celebration. The United Kingdom handover of Hong Kong to the People's Republic of China leaves Ga Yin, and his fellow soldiers without ... See full summary »
Since 2007, the Hong Kong health authorities have implemented an anti-smoking law that bans people from smoking in all indoor areas, including offices, restaurants, bars, and karaoke ... See full summary »
A night like any other in the streets of Hong Kong: in the midst of the tangle of night-owls, cars and vendors, a group of passengers climb aboard a minibus that is to take them from ... See full summary »
Lung, a former member of the national Little League team and now operator of an old-style fabric business, is never able to shake a longing for his past glory. One day, he runs into a forme... See full summary »
Yiu-Kwok is a high school teacher, having a perfect family. Good times don't last long, when a student, Choy-Nam, falls in love with him. For dealing with a relationship with Mr. Seng, a ... See full summary »
I thought Durian Durian was an exceptionally charming film. I believe that in this film Fruit Chan has done what lots of movies fail to do, which is to take on a stereotype character, deal with it and then present its flip side in such a humanising and tender way.
The film is largely about a Chinese call girl in HK, and her exploits are seen through the eyes of a little girl living in the back lanes where the call girl works. while this makes for a half-decent premise, Chan takes the film on an arc midway, just as one begins to settle into the setting and characters, and the film begins to explore a richer, subtler and charming side to this girl's life.
The film starts off feeling very urban - the camera is often hand-held, its movements rapid and its compositions documentary like and voyeuristic. however, as the characters unfold and become more and more well-rounded, so too does Chan's visual style. the cinema verity feel is replaced with a measured, elegant style. stillness and lush winter photography dominate, and by the time the picture ends, one has the feeling of being transported to an entirely different place, seeing before one, an entirely different character.
I enjoyed this film, very, very much. the manner in which it handled the character of the sympathetic prostitute reminds me very much of Jean-luc Godard's treatment of Nana Kleinfrankenheim in Vivre Sa Vie - it was measured, not sappy, in some ways magical, in other ways thoroughly real.
Trust me. this is a good, good film.
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