The Bounty find His Missing Daughter Cho Is on the Case and His Eye Is on the Prize!

Total Page:16

File Type:pdf, Size:1020Kb

The Bounty find His Missing Daughter Cho Is on the Case and His Eye Is on the Prize! 31 Southampton Row, London WC1B 5HJ Tel: 0203 585 1396 Web: fetch.fm PRESS RELEASE Cho (Chapman To) is an optimist - but a little crazy. As a Hong Kong bounty hunter, skilled in martial arts, he’s always in the thick of it and this time his target is a low life thief with a $400,000 bounty on his head. But when a rich businessman offers him a bounty of $100,000,000 to The Bounty find his missing daughter Cho is on the case and his eye is on the prize! PRODUCED BY CHAU CHEOK WA ALEX DONG STARRING CHAPMAN TO FIONA SIT GUEST STARRING ALEX MAN CO-STARRING NICK WANG MAX ZHANG LAI MAAN@RUBBERBAND CHARMAINE FONG PUNNY WONG GUEST APPEARANCE ERIC KOT SPECIAL STARRING RAYMOND WONG HUGO WON SIRE MA STEPHANIE CHENG NO.6@RUBBERBAND LAW WING CHEONG DIRECTOR OF PHOTOGRAPHY KO CHIU LAM (H.K.S.C) ACTION CHOREOGRAPHY JACK WONG PRODUCTION DESIGNER CHET CHAN ART DIRECTOR CHARLIE CHOI ARAMIS YEUNG COSTUME DESIGNER CECILIA CHIK EDITOR MATTHEW HUI MUSIC RUBBERBAND PATRICK LUI VISUAL EFFECTS ENOCH CHAN ASSOCIATE PRODUCER GILBERT FUNG PRODUCTION MANAGER ERICA MAK LINE PRODUCER LEE PO CHEUNG SCREENPLAY FUNG CHIH CHIANG EXECUTIVE PRODUCER CONNIE WONG PRODUCER PACO WONG DIRECTOR FUNG CHIH CHIANG SUN ENTERTAINMENT CULTURE LIMITED FILM DEVELOPMENT FUND OF HONG KONG DADI CENTURY (BEIJING) LIMITED PRESENT INER LIMITED PRODUCTION SUN ENTERTAINMENT CULTURE LIMITED INTERNATIONAL DISTRIBUTION © 2012 SUN ENTERTAINMENT CULTURE LTD. THE GOVERNMENT OF THE HONG KONG SPECIAL ADMINISTRATIVE REGION. ALL RIGHTS RESERVED. ASPECT RATIO SOUNDTRACK LANGUAGE REGION DISC FORMAT SINGLE 5.1 STEREO 2.0 STEREO 16:9 FEATURE LENGTH: 100 MIN WIDESCREEN Chinese LAYERED PAL FORMAT, COLOUR 1.78:1 English Subtitles dvd-5 © Sun Entertainment Culture Limited/the Government of the Hong Kong Special Administrative Region 2012. All rights reserved. Warning: All rights reserved. For private home use only. Any other use, copying, reproduction, Contains strong violence broadcast or performance in public in whole or in part is expressly prohibited. www.mvm-films.com MLA2025 RELEASE INFORMATION Distributor MVM ________________________________________________ A bounty hunter never Certificate 15 quits... ________________________________________________ Release date 6th January, 2014 ________________________________________________ On DVD from Monday 6th Jan. 2014 Running time 99 minutes ________________________________________________ Fast Sell: Extras Trailers ________________________________________________ The writer of crossover hit “Shaolin Soccer” brings us a Hashtag #HongKongClouseau rumbustious roundhouse kick to the senses with “The Bounty”. Prepare to be dazzled by this visually stunning Hong KEY TALENT INFORMATION Kong action-comedy. Director Fung Chih Chiang Key talent: ________________________________________________ Stars • Chapman To Fung Chih Chiang, Writer-Director (Shaolin Soccer) • Alex Man • Fiona Sit Chapman To (Infernal Affairs; Initial D) CONTACT/ORDER MEDIA Alex Man (As Tears Go By) Les Pitt - [email protected] Fiona Sit (2 Young; Break Up Club) Synopsis: Incompetent bounty hunter Cho is given a chance to land a big score from the police if he can catch a most-wanted fugitive criminal. His excursion takes him to a small island in which he finds himself stuck at the bizarre “Lazy Inn” inhabited by an imaginative yet unstable maid, her awkward father and a cowardly coconut man… Cho is thrown into a comedy of errors, in which misunderstandings run as much riot as the local triads. He’s not only looking for answers, he’s looking to escape. He’s having to fight the local gangs and get to grips with the people looking after him in this rollercoaster ride of laughs, action and drama! We like it because: We feel that Writer/Director Fung Chih Chiang takes no time reminding us of why his debut “Shaolin Soccer” made such a splash here in the West. He continues to excel in a unique style of storytelling that harks back to the likes of “The Three Stooges”. With Jackie Chan focusing on more dramatic projects, the likes of Chapman To can fill his boots easily with his warm brand of humour. Comedies like this are becoming harder to find, so it’s great to see someone holding the torch for this slapstick style. “The Bounty” is genuinely one of the most imaginative, energetic and truly laugh out loud action-comedies and a true original that needs to be seen to be believed! Special Features: Trailers.
Recommended publications
  • Hong Kong 20 Ans / 20 Films Rétrospective 20 Septembre - 11 Octobre
    HONG KONG 20 ANS / 20 FILMS RÉTROSPECTIVE 20 SEPTEMBRE - 11 OCTOBRE À L’OCCASION DU 20e ANNIVERSAIRE DE LA RÉTROCESSION DE HONG KONG À LA CHINE CO-PRÉSENTÉ AVEC CREATE HONG KONG 36Infernal affairs CREATIVE VISIONS : HONG KONG CINEMA, 1997 – 2017 20 ANS DE CINÉMA À HONG KONG Avec la Cinémathèque, nous avons conçu une programmation destinée à célé- brer deux décennies de cinéma hongkongais. La période a connu un rétablis- sement économique et la consécration de plusieurs cinéastes dont la carrière est née durant les années 1990, sans compter la naissance d’une nouvelle génération d’auteurs. PERSISTANCE DE LA NOUVELLE VAGUE Notre sélection rend hommage à la créativité persistante des cinéastes de Hong Kong et au mariage improbable de deux tendances complémentaires : l’ambitieuse Nouvelle Vague artistique et le film d’action des années 1980. Bien qu’elle soit exclue de notre sélection, il est utile d’insister sur le fait que la production chinoise 20 ANS / FILMS KONG, HONG de cinéastes et de vedettes originaires de Hong Kong, tels que Jackie Chan, Donnie Yen, Stephen Chow et Tsui Hark, continue à caracoler en tête du box-office chinois. Les deux films Journey to the West avec Stephen Chow (le deuxième réalisé par Tsui Hark) et La Sirène (avec Stephen Chow également) ont connu un immense succès en République Populaire. Ils n’auraient pas été possibles sans l’œuvre antérieure de leurs auteurs, sans la souplesse formelle qui caractérise le cinéma de Hong Kong. L’histoire et l’avenir de l’industrie hongkongaise se lit clairement dans la carrière d’un pionnier de la Nouvelle Vague, Tsui Hark, qui a rodé son savoir-faire en matière d’effets spéciaux d’arts martiaux dans ses premières productions télévisuelles et cinématographiques à Hong Kong durant les années 70 et 80.
    [Show full text]
  • The Departed Talent: Matt Damon, Leonardo Dicaprio, Jack Nicholson
    The Departed Talent: Matt Damon, Leonardo DiCaprio, Jack Nicholson, Mark Wahlberg, Alec Baldwin, Vera Farmiga, Martin Sheen, Ray Winstone. Date of review: Thursday the 12th of October, 2006. Director: Martin Scorsese Classification: MA (15+) Duration: 152 minutes We rate it: Five stars. For any serious cinemagoer or lover of film as an art form, the arrival of a new film by Martin Scorsese is a reason to get very excited indeed. Scorsese has long been regarded as one of the greatest of America’s filmmakers; since the mid-1980s he has been regarded as one of the greatest filmmakers in the world, period. With landmark works like Taxi Driver (1976), Raging Bull (1980), Goodfellas (1990) and Bringing Out the Dead (1999) to his credit, Scorsese is a director for whom any actor will go the distance, and the casts the director manages to assemble for his every project are extraordinarily impressive. As a visualist Scorsese is a force to be reckoned with, and his soundtracks regularly become known as classic creations; his regular collaborators, including editor Thelma Schoonmaker and cinematographer Michael Ballhaus are the best in their respective fields. Paraphrasing all of this, one could justifiably describe Martin Scorsese as one of the most important and interesting directors on the face of the planet. The Departed, Scorsese’s newest film, is on one level a remake of a very successful Hong Kong action thriller from 2002 called Infernal Affairs. That film, written by Felix Chong and directed by Andrew Lau, set the box office on fire in Hong Kong and became a cult hit around the world.
    [Show full text]
  • 2015 National Sports and Entertainment History Bee Round 1
    2015 National Sports and Entertainment History Bee Round 1 1. In this film, one character is called “almost a guy you can’t hit” after the protagonist orders cranberry juice at a bar. In this film, a misspelling of the word “citizen” on an envelope causes one character’s identity to be revealed. One character in this remake of Infernal Affairs was loosely based on Whitey Bulger, that man was portrayed by Jack Nicholson. For the point, name this 2006 best picture winner directed by Martin Scorsese and starring Matt Damon and Leonardo DiCaprio. ANSWER: The Departed 2. This man was once part of a lopsided trade included relief pitchers Greg Caderay and Eric Plunk. He played for nine different teams between 1979 and 2003, including four stints with his original team, the Oakland Athletics. He holds Major League records for, unintentional walks, most runs scored, and leadoff home runs. For the point, name this outfielder who is best remembered for breaking Lou Brock’s record for the most career stolen bases, appropriately earning him the nickname "The Man of Steal". ANSWER: Rickey Henderson 3. One sequel to this book is entitled Small Steps, and follows Theodore Johnson. A song in this book goes “If only if only the woodpecker cries, the bark on the trees was as soft as the skies” and at one point, the protagonist takes refuge on “God’s thumb.” The protagonist is sent to Camp Green Lake after he is accused of stealing a pair of shoes, and his first name is his last name spelled backwards.
    [Show full text]
  • A Study on International Communication Strategies of Chinese-Language Films Liang Dinga and Wenjing Zhangb No
    2018 3rd International Conference on Society Science and Economics Development (ICSSED 2018) ISBN: 978-1-60595-031-0 A Study on International Communication Strategies of Chinese-language Films Liang Dinga and Wenjing Zhangb No. 462, Heyan Road, Qixia District, Nanjing City, Jiangsu Prov., China [email protected], [email protected] Keywords: Chinese-language Films, International Communication, Strategies. Abstract. Starting with the characteristics of Chinese-language films, this paper focuses on analyzing the international influence of Chinese-language films and the problems of their international communication, as well as explores the relative strategies in order to promote the international communication of Chinese-language films, and enhance their international influence at the same time. 1.Introduction The Chinese-language film is an important way to show the image of our country to the world and also spread Chinese culture, so as to improve the international understanding of Chinese culture. Since 20th century, Chinese-language films have gradually gone global wide and begun to spread abroad. Chinese-language films have the characteristics of being commercial, artistic, international and comprehensive, which has an important influence on the development of films around the world. However, in the process of international communication, Chinese-language films also face the problems of cultural and language barriers, insufficient use of international market, similar themes, imperfect international marketing and so forth, so that their international communication has not achieved the intended effect. In view of this situation, China actively explores the scientific approach to international communication of Chinese-language films with the purpose of strengthening their international influence.
    [Show full text]
  • Representation of Females As Victims in Hong Kong Crime Films (2003-2015)
    REPRESENTATION OF FEMALES AS VICTIMS IN HONG KONG CRIME FILMS (2003-2015) Perspectives from One Nite in Mongkok, Protégé and The Stool Pigeon TINGTING HU (胡婷婷) MA. Media, Loughborough University, UK, 2011 BA. Arts, Shanghai Theatre Academy, China, 2010 This thesis is submitted for the degree of Master of Research Department of Media, Music, Communication and Cultural Studies Faculty of Arts Macquarie University, Sydney December 25, 2015 MRES Thesis 2015 Tingting HU (ID: 43765858) TABLE OF CONTENTS ABSTRACT ........................................................................................................................ iii CERTIFICATE OF AUTHORSHIP/ORIGINALITY .................................................. iv ACKNOWLEDGMENTS .................................................................................................. v CHAPTER 1 INTRODUCTION ....................................................................................... 1 CHAPTER 2 FEMINISM AND HONG KONG CRIME FILMS ................................. 7 Feminism and Film Studies .................................................................................................. 7 The Western Context ......................................................................................................... 7 The Chinese Context ....................................................................................................... 11 Crime Films and Violence Against Women ....................................................................... 15 Crime Films ...................................................................................................................
    [Show full text]
  • 1 “Ann Hui's Allegorical Cinema” Jessica Siu-Yin Yeung to Cite This
    This is the version of the chapter accepted for publication in Cultural Conflict in Hong Kong: Angles on a Coherent Imaginary published by Palgrave Macmillan https://link.springer.com/chapter/10.1007/978-981-10-7766-1_6 Accepted version downloaded from SOAS Research Online: http://eprints.soas.ac.uk/34754 “Ann Hui’s Allegorical Cinema” Jessica Siu-yin Yeung To cite this article: By Jessica Siu-yin Yeung (2018) “Ann Hui’s Allegorical Cinema”, Cultural Conflict in Hong Kong: Angles on a Coherent Imaginary, ed. Jason S. Polley, Vinton Poon, and Lian-Hee Wee, 87-104, Singapore: Palgrave Macmillan, 2018. Allegorical cinema as a rhetorical approach in Hong Kong new cinema studies1 becomes more urgent and apt when, in 2004, the Closer Economic Partnership Arrangement (CEPA) begins financing mainland Chinese-Hong Kong co-produced films.2 Ackbar Abbas’s discussion on “allegories of 1997” (1997, 24 and 16–62) stimulates studies on Happy Together (1997) (Tambling 2003), the Infernal Affairs trilogy (2002–2003) (Marchetti 2007), Fu Bo (2003), and Isabella (2006) (Lee 2009). While the “allegories of 1997” are well- discussed, post-handover allegories remain underexamined. In this essay, I focus on allegorical strategies in Ann Hui’s post-CEPA oeuvre and interpret them as an auteurish shift from examinations of local Hong Kong issues (2008–2011) to a more allegorical mode of narration. This, however, does not mean Hui’s pre-CEPA films are not allegorical or that Hui is the only Hong Kong filmmaker making allegorical films after CEPA. Critics have interpreted Hui’s films as allegorical critiques of local geopolitics since the beginning of her career, around the time of the Sino-British Joint Declaration in 1984 (Stokes and Hoover 1999, 181 and 347 note 25), when 1997 came and went (Yau 2007, 133), and when the Umbrella Movement took place in 2014 (Ho 2017).
    [Show full text]
  • Market Research 2020
    THE ITALIAN TRADE COMMISSION HONG KONG MARKET RESEARCH FILM 2020 SEPTEMBER F O S B A C K G R O U N D E Hong Kong Current Market Overview L 2 T S T A T I S T I C B A Hong Kong Box Office & Market Trend T 4 N S T A T I S T I C 5 Audio & Visual Equipment Industry E L O C A L F I L M I N D U S T R Y T 7 Loca Industry and Distribution G L O B A L D I S T R I B U T I O N N 8 International Investment and Recognition T E L E V I S I O N I N D U S T R Y O 10 Local TV Industry T R A D E S H O W C 1 1 Hong Kong FILMART A S S O C I A T I O N S 12 Hong Kong Trade Associations (Film Sector) R E F E R E N C E 13 Source and Reference BACKGROUND: V O L U M E 3 , I S S U E 3 HONG KONG CURRENT MARKET OVERVIEW Business Shock Under COVID-19 CINEMA CLOSED DUE TO CORONAVIRUS PANDEMIC Under the tightened social distancing policies announced by the HKSAR government to fight against the coronavirus, cinemas were previously closed twice from March 27 to May 5 and July 15 to August 27 Hong Kong box office receipts plunged by more than 70% in the first six months of 2020 as audiences stayed away and cinemas shut down amid the coronavirus pandemic.
    [Show full text]
  • Contrasting "Infernal Affairs" Hong Kong and "The Departed" Hollywood
    Contrasting "Infernal Affairs" Hong Kong and "The Departed" Hollywood By Prof. Dr. SZE, Man Hung, Stephen and SHEN, Yiting (Graduate Student) Dept. of Film and TV Production, Kushan University of Technology, Tainan County, Taiwan) (Abstract) Film noir is a classical genre of Hollywood. It has its own special elements of evolution and mode of manifestation. It has not been a genre that could be found in Hong Kong for a long time. This article begins with the tracing of the reasons for the lack of film noir in Hong Kong, and its gradual development till the advent of "Infernal Affairs"(2002), which was adopted by Hollywood and resulted in the adapted "The Departed"(2006). Although the basic structure of the plot in both films is based on the interaction and events faced by the two protagonists, and thus bringing out the predicament and helplessness of the two under-covers from both the police and the underworld, the two films are different because of the different socio-cultural contexts, the studio systems of production and the ideas of artistic creativity. After investigating the different approaches of P. 1 Hong Kong and Hollywood studio systems, this article will also then analyze and contrast the two films, binging out their different modes of manifestation, characteristics, character portrayal, cinematic ideas social and artistic values. It will account for the mutation of one text in the two different social and cultural contexts of film production and audience. Contrasting "Infernal Affairs" Hong Kong and "The Departed" Hollywood By Prof. Dr. SZE, Man Hung, Stephen and SHEN, Yiting (Graduate Student) Dept.
    [Show full text]
  • Brattle Theatre Film Notes: Au Began His Career As a Cine- the 1980S
    Brattle Theatre Film Notes: au began his career as a cine- the 1980s. Hong Kong cinema Hong Kong, 2002. R. 101 min. matographer, working on films experienced a resurgence in the Cast: Andy Lau, Tony Leung Chiu Lsuch as “Where’s Officer Tuba?” 1980s and early 1990s with the Wai, Anthony Wong Chau-Sang, in 1986 and “Chungking Express” in release of films like director John Eric Tsang; Writer: Felix Chong; Woo’s “A Better Tomorrow” (1986) Cinematographer: Yiu-Fai Lai; 1994. He started his dire c t o r i a l Pr oducer: Andy Lau; Direc t o r s : career with 1987’s “The Ultimate and “The Killer” (1989) both with ( Wai Keung Lau, Alan Mak ) Vampire” and has since worked on action star Chow Yun-Fat. The films movies like the “Best of the Best” w e re known for their chore o- series (1996), “Young and graphed action as well as the inter- ard-boiled and fast paced is D a n g e rous” series (1996); “The nal moral conflicts of the main char- one way to describe the acters. HHong Kong action thriller Duel” (2000); and “The Park” (2003). “Infernal Affairs.” is co-director, Alan Mak, also nfernal Affairs” also adds a told HKMania.com that the level of intrigue. While the he film, which runs from Nov. movie has some very exciting 19 until Nov. 25 at the Brattle Hscript took three years to “I write. He said that the taste of the action scenes, the psychological TTheatre in Cambridge, herald- Hong Kong public shifted fro m impact of the duplicitous ro l e s ed a new wave of Hong Kong cin- action movies in the 1980s to takes its effect on the undercover ema for many critics.
    [Show full text]
  • INFERNAL AFFAIRS (2002, 101 Min.) Online Versions of the Goldenrod Handouts Have Color Images & Hot Links
    November 13 2018 (XXXVII:12) Wai-Keung Lau and Alan Mak: INFERNAL AFFAIRS (2002, 101 min.) Online versions of The Goldenrod Handouts have color images & hot links: http://csac.buffalo.edu/goldenrodhandouts.html DIRECTED BY Wai-Keung Lau (as Andrew Lau) and Alan Mak WRITING Alan Mak and Felix Chong PRODUCED BY Wai-Keung Lau producer (as Andrew Lau), line producers: Ellen Chang and Lorraine Ho, and Elos Gallo (consulting producer) MUSIC Kwong Wing Chan (as Chan Kwong Wing) and Ronald Ng (composer) CINEMATOGRAPHY Yiu-Fai Lai (director of photography, as Lai Yiu Fai), Wai-Keung Lau (director of photography, as Andrew Lau) FILM EDITING Curran Pang (as Pang Ching Hei) and Danny Pang Art Direction Sung Pong Choo and Ching-Ching Wong WAI-KEUNG LAU (b. April 4, 1960 in Hong Kong), in a Costume Design Pik Kwan Lee 2018 interview with The Hollywood Reporter, said “I see every film as a challenge. But the main thing is I don't want CAST to repeat myself. Some people like to make films in the Andy Lau...Inspector Lau Kin Ming same mood. But because Hong Kong filmmakers are so Tony Chiu-Wai Leung...Chen Wing Yan (as Tony Leung) lucky in that we can be quite prolific, we can make a Anthony Chau-Sang Wong...SP Wong Chi Shing (as diverse range of films.” Lau began his career in the 1980s Anthony Wong) and 1990s, serving as a cinematographer to filmmakers Eric Tsang...Hon Sam such as Ringo Lam, Wong Jing and Wong Kar-wai. His Kelly Chen...Dr.
    [Show full text]
  • Filmpodium Biel/Bienne
    FILMPODIUM BIEL/BIENNE Do/Je 19/08 12h15 IN THE MOOD FOR LOVE Sa 21/08 20h30 Wong Kar-Wai, HK/F/TH 2000, 98’, Ov/d,f CINÉ-MIDI So/Di 22/08 10h30 Fr/Ve 27/08 20h30 So/Di 29/08 18h00 Do/Je 19/08 18h00 AS TEARS GO BY Mo/Lu 23/08 20h30 Wong Kar-Wai, Hongkong 1988, 102’, Ov/d Fr/Ve 27/08 18h00 Do/Je 19/08 20h30 DAYS OF BEING WILD Di/Ma 24/08 20h30 Wong Kar-Wai, Hongkong 1990, 100’, Ov/d Sa 28/08 18h00 Mo/Lu 30/08 20h30 Fr/Ve 20/08 18h00 ICH BIN DEIN MENSCH So/Di 22/08 18h00 Maria Schrader, D 2021, 104’, D/f CINÉ-MIDI Do/Je 26/08 20h30 So/Di 29/08 20h30 Do/Je 02/09 12h15 Fr/Ve 20/08 20h30 CHUNGKING EXPRESS Mo/Lu 23/08 18h00 Wong Kar-Wai, Hongkong 1994, 98’, Ov/d Sa 28/08 20h30 Di/Ma 31/08 20h30 Sa 21/08 18h00 PREPARATIONS TO BE TOGETHER So/Di 22/08 20h30 FOR AN UNKNOWN PERIOD OF TIME Di/Ma 24/08 18h00 Lili Horvát, H 2020, 95’, Ov/d,f Do/Je 26/08 12h15 CINÉ-MIDI Mo/Lu 30/08 18 h00 Fr/Ve 03/09 20h30 Do/Je 26/08 18h00 DEUX So/Di 29/08 10h30 Filippo Meneghetti, F/L/B 2019, 95’, F/d CINÉ-MIDI Sa 04/09 18h00 Mo/Lu 06/09 18h00 Do/Je 09/09 12h15 Fr/Ve 10/09 20h30 Di/Ma 31/08 18h00 FALLEN ANGELS IN THE MOOD FOR LOVE Do/Je 02/09 20h30 Wong Kar-Wai, HK 1995, 99’, Ov/d Mo/Lu 06/09 20 h 30 Willkommen im filmischen Universum von Wong Kar-Wai – dem Hongkong-Regisseur, dessen Name für pure Kinomagie steht.
    [Show full text]
  • Rouge (1988) Una Storia D'amore (E Di Fantasmi) Divisa Tra I Fasti Del Passato E La Quotidianità Del Presente
    Rouge (1988) Una storia d'amore (e di fantasmi) divisa tra i fasti del passato e la quotidianità del presente. Un film di Stanley Kwan con Anita Mui, Leslie Cheung, Alex Man, Emily Chu, Kara Hui, Chia Yung Liu, Sin Hung Tam, Yin Tse, Irene Wan, Yue Wong. Genere Drammatico durata 93 minuti. Produzione Hong Kong 1988. Emanuele Sacchi - www.mymovies.it Hong Kong, 1987. La tranquilla quotidianità dell'editor Yuan (Alex Man) e della fidanzata Chu (Emily Chu) viene turbata dall'apparizione dello spettro di Fleur (Anita Mui), una cortigiana suicidatasi cinquant'anni prima insieme al suo amante Chen Chen-pang (Leslie Cheung). Essendo rimasta da sola all'Inferno, Fleur torna tra i vivi per scoprire quale sia stata la sorte dell'amato. Il fatto che 'Rouge' si intitoli come il primo film in lingua cantonese (anno 1925) chiarisce quali siano le ambizioni insite in quello che rimane, con ogni probabilità, il film-chiave per comprendere la poetica di Stanley Kwan. Caso emblematico di connubio tra esigenze autoriali, plauso della critica e successo commerciale - a produrre è un inatteso Jackie Chan - Rouge è stato per anni indicato come pietra di paragone per comprendere il cinema di Hong Kong (oltre ad aver acquisito una sinistra fama dopo la morte temporalmente ravvicinata di Cheung e della Mui nel 2003). Senza ricorrere a effetti speciali, infatti, senza stupire né ricorrere a scorciatoie di qualsivoglia natura, Kwan riesce a infondere una fortissima passionalità a una storia di fantasmi sui generis, o meglio a una storia di vivi (ma a tutti gli effetti morti nella speranza) e morti (il cui cuore non pulsa più, ma la cui passione è viva e inestinguibile).
    [Show full text]