The 43rd Hong Kong International Film Festival Filmmaker in Focus: Sammo Hung
The 43rd Hong Kong International Film Festival (HKIFF) will be held from 18 March to 1 April 2019. Details of the programme lineup will be announced shortly. Legendary action master Sammo Hung is the Filmmaker in Focus this year.
This is a well-deserved recognition for the all-round virtuoso who stands as a living testimony of Hong Kong cinema’s Golden Age and for his trailblazing career, having worked his way from actor, stuntman, martial arts choreographer, to director and producer for over half a century. The retrospective honouring Hung will feature 10 of his seminal works, along with a newly published commemorative book. Hung will also attend a Face to Face seminar at the Hong Kong Cultural Centre on 30 March 2019, to share his views of and experiences in the film industry with members of the public.
Born in Hong Kong in 1952 to a showbiz family, Hung received specialized training in Peking Opera in his childhood at the China Drama Academy under Master Yu Jim-yuen. He later became the lead member of Yu’s performing troupe, known as “Seven Little Fortunes”. His screen career started in 1961 as a child actor in “Education of Love”. Shaw Brothers’ “The Golden Sword” (1969) saw his rise to the position of martial arts choreographer which he later combined with an acting role in renowned director King Hu’s “The Valiant Ones” (1975). His mastery won him his first Hong Kong Film Award for Best Action Choreography for kung-fu comedy “The Prodigal Son (1981)”.
Extending the magnitude of his filmmaking career, Hung co-founded several film companies, including Bo Ho, D&B and Bojon, through which he produced, directed and acted in countless iconic Hong Kong films. He also started the Sammo Hung Stunt Team to train and nurture new talents.
The industry heavyweight is credited for having launched the Chinese vampire horror-comedy genre with “Encounters of the Spooky Kind” (1980). He further explored action comedy with the “Winners and Sinners” (1983) series, rivalled Hollywood production with the war-themed “Eastern Condors” (1987) and proved his chops as a nuanced actor in “Eight Taels of Gold” (1989).
Winning Best Actor awards twice Hung’s acting prowess was recognized with two Best Actor awards from the Hong Kong Film Awards for “Carry On Pickpocket” (1982) and “Painted Faces” (1988) – the latter for his realistic portrayal of his mentor, Master Yu. He added to his trophy haul with statuettes for Best Action Choreography for “Ip Man” (2008), “Ip Man 2” (2010) and “Paradox” (2017).
With more than 250 films under his belt, Hung’s versatility and creativity has inspired generations of aspiring filmmakers, making him a true icon of the spirit of the Hong Kong film industry. The Hong Kong International Film Festival is proud to honour this outstanding filmmaker with this retrospective for fans to recapture the work of Hung, affectionately known as “Dai Gor Dai” (the “Big Big Brother”),
Film list for screenings: 1975 The Valiant Ones 1980 Encounters of the Spooky Kind 1981 The Prodigal Son 1983 Winners & Sinners 1987 Eastern Condors 1988 Painted Faces 1989 The Pedicab Driver 1989 Eight Taels of Gold 2005 SPL 2010 Ip Man 2
Face to Face Seminar: Sammo Hung Date: 30 March 2019 (Saturday) Venue: Grand Theatre, Hong Kong Cultural Centre Admission to the seminar is free. Details of online registration will be announced on the HKIFF official website and its Facebook page later.
HKIFF showcases six restored classics
In addition to paying tribute to filmmakers and honouring their outstanding work, the HKIFF also showcases a number of world classics to reignite appreciation from new generations of audiences. The 43rd HKIFF will showcase six restored classics from masters spanning from the 1920s to 1970s across six countries, including the USA, former Soviet Union, Japan, Italy, Demark and Cuba.
The new 4K restoration of Stanley KUBRICK’s ground-breaking sci-fi masterpiece “2001: A Space Odyssey” (1968) will be shown on the big screen, which promises an awe-inspiring cinematic experience of stunning visuals and imaginative reinvention. Navigating through time is Bernardo BERTOLUCCI’s sweeping epic “1900” (1976), starring Robert DE NIRO and Gerard DEPARDIEU, on Italy's 70 years of social and political transformation. Likewise, “I am Cuba” (1964) by the Cannes Palme d’Or winning Russian director Mikhail KALATOZOV is a celebration of revolutionary spirit and cinematic wonderments. “7th Heaven” (1927), Frank BORZAGE’s silent Hollywood classic that won three Oscars at the first-ever Academy Awards, remains a yardstick for all romantic dramas. Legendary Danish director Carl Theodor DREYER’s “Ordet” (1955), a winner of Venice’s Golden Lion and considered by many as one of the greatest films ever made, is a triumph of mise-en- scène and arguably the most profound exploration of the nature of faith in cinema. From the Japanese auteur KAWASHIMA Yuzo – HKIFF36’s director-in-tribute – is the newly restored “The Temple of Wild Geese” (1962), a sensual tale of love and power entanglement that continues to influence generations of Japanese filmmakers with its aesthetics of discordance. Details of the restored classics section and other films in the HKIFF selection will be available later at www.hkiff.org.hk.
About HKIFFS The Hong Kong International Film Festival Society (HKIFFS) is dedicated to the discovery and promotion of creativity in the art and culture of film. It organizes the annual flagship the Hong Kong International Film Festival (HKIFF) and the Hong Kong – Asia Film Financing Forum (HAF) in March and April. Another annual highlight is the Summer International Film Festival (SummerIFF) held every August. The repertory HKIFF Cine Fan Programme was launched in April 2013 with the aim to enrich and deepen the experience of Hong Kong moviegoers through a monthly programme of contemporary, retrospective and thematic showcases. Through its annual programmes, the Society promotes international appreciation of Asian, Hong Kong and Chinese film culture; introduces world cinema to Hong Kong audiences; and continues to underline Hong Kong’s key position in the international film community.