6.8/10
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Ten Years (2015)

Sap nin (original title)
Five short films set in Hong Kong in the year 2025.

Directors:

Jevons Au, Kiwi Chow (as Chow Kwun-Wai) | 3 more credits »

Writers:

Jevons Au (scriptwriter), Kiwi Chow (screenwriter) (as Kwun-Wai Chow) | 8 more credits »
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2 wins & 2 nominations. See more awards »

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Cast

Credited cast:
Brenda Chan ... Sammy Chan (segment "Self-immolator")
Cow Chan Cow Chan ... Riot Police (segment "Self-immolator")
Fun-Kei Chan Fun-Kei Chan ... Secret Police D (segment "Self-immolator") (as Frankie Chan)
Kam Hei Chan Kam Hei Chan ... Hooligan (segment "Extras")
Peter Chan Peter Chan ... Peter (segment "Extras")
Wai-Sin Chan Wai-Sin Chan ... Lam King-Chee (segment "Extras")
Catherine Chau ... Office Lady (segment "Dialect")
Chee-Yan Cheung Chee-Yan Cheung ... Classmate (segment "Dialect")
Moon-Yuen Cheung ... Graham Kan (segment "Self-immolator") (as Kenneth Cheung)
Ping-Kuen Cheung Ping-Kuen Cheung ... Dr. David Kwok (segment "Self-immolator")
Wing-Fung Cheung Wing-Fung Cheung ... Police (segment "Extras")
Yuen-Fan Cheung Yuen-Fan Cheung ... Councilor (segment "Extras")
Ying-Fat Cho Ying-Fat Cho ... Joe Juan (segment "Self-immolator")
Andrew Choi Andrew Choi ... Taxi Driver (Mandarin) (segment "Dialect")
Nga-Shan Chow Nga-Shan Chow ... Truck Shop Manager (segment "Dialect")
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Storyline

Five thought-provoking shorts imagine what Hong Kong will be like ten years from now. In Extras, two genial low-level gangsters are hired to stage an attack, but they're mere sacrificial lambs in a political conspiracy. Rebels strive to preserve destroyed homes and objects as specimens in the mesmerizing Season of the End. In Dialect, a taxi driver struggles to adjust after Putonghua displaces Cantonese as Hong Kong's only official language. Following the death of a leading independence activist, an act of self-immolation outside the British consulate triggers questions and protests in the searing yet moving Self-Immolator. In Local Egg, a grocery shop owner worries about his son's youth guard activities and where to buy eggs after Hong Kong's last chicken farm closes down.

Plot Summary | Add Synopsis

Plot Keywords:

anthology | number in title | See All (2) »

Genres:

Drama

Certificate:

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Details

Country:

Hong Kong

Language:

Cantonese

Release Date:

17 December 2015 (Hong Kong) See more »

Also Known As:

10 Years See more »

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Box Office

Cumulative Worldwide Gross:

$779,639
See more on IMDbPro »

Company Credits

Show more on IMDbPro »

Technical Specs

Sound Mix:

Dolby Digital

Aspect Ratio:

1.85 : 1
See full technical specs »
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Did You Know?

Goofs

In the segment "Season of the End", the sample collection date in English (Sept 8) is different from Chinese (Aug 8). See more »

Soundtracks

Bach Cello Suite V. Bourree I
(segment "Extras")
Composed by Johann Sebastian Bach
Performed by Jamie Jim
See more »

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User Reviews

 
It gets worse before it gets better
23 May 2016 | by gillareteSee all my reviews

This is not one film but five, each a self-contained depiction of Hong Kong in the year 2025. While #3-#5 are well worth your time, you are advised to skip the first two.

Below is a rundown of the five films.

#1. Beijing wants to stage a political assassination to stir fear in Hong Kong. Now, if manufacturing fear is your goal, would you rather the incident take place at a rally in Victoria Park attended by thousands of people, or at a holiday celebration in a school auditorium with a few dozen senior citizens? The screenwriter prefers the auditorium. Then about 2/3 of the film is spent discussing which of the two possible targets should be shot in order to maximize the terror-inducing effect, and the conclusion reached at long last is that -- why didn't we think of that? -- BOTH should be shot. The plan is carried out, ending in what's supposedly a twist of fate for the assassins, but by that time if you're still watching, you will hardly care.

#2. Probably not the most pretentious film you'll ever see, nor the most unintentionally funny. But you get a bit of both. Man and woman have a job no real people have, talk like no real people do, and come up with an idea no real people (I hope) ever tried. At one point, the man ingests coagulant (that's THE IDEA), and somehow starts to feel like taking a walk, but finds his room locked. In a fit of anger he punches and shoves a cupboard so very gently that nothing breaks and a 1.5-meter-long ax sitting precariously on top of the cupboard does not fall. Then, still angry, he grabs the ax and judiciously chops away a tiny patch of wall between the cupboard and a full-length mirror, hitting neither the cupboard nor the mirror in the process. "Why is everything like this?" he protests. Indeed, why is everything in this film like this?

#3. We finally get to the better part. There is not a lot of story here -- just a cab driver's struggle with Putonghua -- but what there is, is quite realistic, and told in a natural, restrained tone without unnecessary fanfare. There is a poignant moment when another cabbie observes that Cantonese has never been the privileged language -- before Putonghua it was English. That's today's Hong Kong writ small: the absence of that which has never been, is now more acutely felt than ever.

#4. Arguably the best of the bunch, or at least one of the best, on a par with #3, but with a major flaw. The format (mockumentary) is prefect for the subject matter (a growing movement that calls for Hong Kong's independence). The premise -- after an activist died in a hunger strike, someone burnt him/herself in front of the British Consulate -- while bold, is not far-fetched. The voice of the majority of Hong Kong people (majority in real life now, and still majority in the film) who either oppose independence or do not really care -- this, however, is conspicuously missing. The only representative of such people is a racist store keeper who expresses himself primarily by throwing eggs.

#5. Not what I'd call a credible story (boy scouts turning into Red Guards?), but if you take it as a big metaphor for something untold in the film itself, it can be rather revealing. And no doubt it manages to capture the fear of many Hong Kong people. But to those who do not share the same fear, it may come across as contrived and paranoid.

Overall:

Worth watching, though more for the political perspective than for the aesthetic pleasure. And only for the last 53 minutes (thus just 6 stars for the whole thing) -- as is sometimes said in times of turbulence and uncertainty, it has to get worse before it gets better.


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