Hong Kong International Film Fest fetes milestone 50th edition

S Viswanath

Hong Kong International Film Festival is marking a major milestone. Having seen 50 summers since it began its cinematic sojourn with the objective of “Uniting the World through Film(s),” one of Asia most coveted and premiere film festival is feting its Golden Jubilee this year.

In keeping with the fitness of things to toast the coveted occasion, HKIFF50, will see both its opening and closing films premiering Asian auteurs celebrated works. While the opening film will be Singapore Director (Chen Zheyi’s “We Are All Strangers,” on April 1, the 12-day film festival will draw curtains with City’s very own feted Hong Kong Director Weng Ziguang (Philip Yung)’s new film “Super Wind/Cyclone,” on April 12.

Chen Zheyi (Anthony Chen)’s “We Are All Strangers,” which deftly explores the filial connection transcending blood ties, and has the honour of becoming the first Singaporean film to find itself in the Berlin International Film Festival’s Main Competition Section’s shortlist, is the last of Chen Zheyi’s “Growth Trilogy.”

Renowned for his critically acclaimed feature films that explore family dynamics, growth, and intimate relationships, Chen’s debut feature Ilo Ilo (2013), that bagged the coveted Camera d’Or at Cannes, and is first in the trilogy of films, focuses on the relationship between a Singaporean family and their Filipino maid during the 1997 Asian financial crisis.

The director followed this up with Wet Season (2019) which explores the life of a teacher navigating family and personal struggles, including a complex relationship with one of her students. His latest part of the thematic growth trilogy, continues his exploration of intimate human connections.

“Super Wind/Cyclone” which spotlights and explores transgender identity and social marginalisation, was selected for “Big Screen Competition” Section of Rotterdam International Film Festival this year, and has attracted much attention.

The 50th Edition of HKIFF, according to the festival organisers, will see over 215 films from 71 countries and regions, including 11 world premieres, 4 international premieres and 49 Asian premieres, and will see over 320 screenings, during its 12-day run.

Founded in 1977, Hong Kong International Film Festival, one of the oldest film festivals in Asia, headlined by the festival theme “Beyond Fifty. Dare to Imagine the Future,” will be celebrating the HKIFF’s achievements in promoting film culture exchange for half a century, and marking a new chapter.

Billed as one of Asia’s most enduring cultural events. HKIFF50 while celebrating its chequered five decades of cinematic and cultural exchanges will also be spotlighting the future of Asian and global cinema.

Further, to mark its Golden Jubilee, HKIFF50 has appointed Taiwanese actress Gingle Wang, winner of Best Lead Actress award at the 22nd Taipei Film Festival, and Thailand’s rising star Metawin Opas-iamkajorn (Win), recipient of Asian Film Awards Academy’s Asian Rising Star Award in 2024, as its Asian Visionary Ambassadors.

Both will make special appearances during the festival alongside Festival Ambassadors Angela Yuen (Yuen Lilin ) and Tony Wu Hu Zitong, strengthening cross-cultural dialogue.

HKIFF50 is also presenting “50 and Beyond: The Hong Kong International Film Festival Golden Jubilee Exhibition” at Hong Kong City Hall, showcasing rare archival materials, photographs, and filmmakers’ reminiscences highlighting HKIFF’s cultural contribution over the past five decades.

Further, celebrating the 50th anniversary, the Hong Kong International Film Festival has curated a special presentation “Chinese Films: When the Wind Breaks the Waves”, which will see a dozen films from Mainland China, Hong Kong and Taiwan that have been promoted over the years.

It may be recalled that in the early 80s when the new generation of Chinese filmmakers was emerging, the HKIFF became a window for their films to reach international stage, and a platform to connect Chinese and foreign cultures, shine on international arena, establishing the artistic status of Chinese films.

The line-up of Chinese films include Chen Kaige’s “Yellow Earth”, celebrated director Zhang Yimou’s “Red Sorghum”, Tian Zhuangzhuang’s “Horse Thief”, and Huang Jianxin’s “Black Cannon Incident”.

The creative and experimental films from Hong Kong’s New Wave directors such as Tsui Hark’s 1979 “Butterfly Change” , Xu Anhua’s 1979 “Crazy Tribulation/Robbery”, Tan Jiaming’s 1980 “Famous Sword” , the 1982 “The Story of Time” by Tao Dechen, Yang Dechang, Ke Yizheng and Zhang Yi, Fang Yuping’s 1983 “Half of the Man”, Tsui Hark’s The Butterfly Murders , Ann Hui’s The Secret , Patrick Tam’s The Sword and Allen Fong’s Ah Ying.

The new, emerging film voices from Taiwan such as four short films Wan Ren’s 1983 “Rapeseed” , Hou Hsiao-hsien “Love in the Dust” , and Tsai Mingliang’s “Teenage Nezha” . The anthology film In Our Time , by Tao Te-Chen, Edward Yang, Ko I-Chen, and Chang Yi, Wan Jen’s Ah Fei, Hou Hsiao-Hsien’s Dust in the Wind and Tsai Ming-Liang’s Rebels of the Neon God .