每日點新聞 點解香港事

For those who saw it on the big screen, In the Mood for Love was an unforgettable experience. Shot on film using ARRIFLEX 35 BL4 and ARRIFLEX 535 Cameras with Zeiss Lenses, it wowed audiences with its richly textured cinematography and odd use of framing. Each shot seemed like a mysterious analog memory—dreamlike smoke-filled spaces punctured by creative lighting and use of shadows.

There's so much to learn about Hong Kong through the work of its masters of cinema. The best thing about Netflix is its regional offerings, so today, we're going to take a look at the work of Chow Yun-Fat, AKA Mr. Cool, AKA Babyface Killer, AKA Brother Fat.

Like most singular "autueristic" talents, Chow's nonpareil storytelling has netted him gargantuan status as the king of Cantonese comedies.

A few months ago, a friend asked me if I'd ever read the Three-Body Problem. No, never heard of it. It's an extraordinary Chinese science fiction novel. Ok, didn't see that coming. Any good? Trust me, read the first fifty pages, you'll be hooked. Intrigue struck. Sure enough, our next meet involved me receiving the mysterious book I knew nothing about, handed over with a grin like some sacred text or best-kept secret. What mind-melting worlds awaited my synapses?

I watched Netflix's 2017 documentary Joshua: Teenager vs Superpower last night for the first time. "Joshua" is a contrived, cloying, unbalanced documentary with the ambition to manipulate perspectives on Joshua Wong's rise and evolution from passionate teen to media princeling.

That was awesome, but what the f**k just happened? Said my imaginary interlocutor as we left the PALACE IFC Broadway Theatre. I'm not sure. Rebirth? Earlier in the week, I'd invited myself to see acclaimed Japanese anime director Omoto Katsuhiro's 1988 cyberpunk epic Akira as it returned to HK cinemas in newly restored 4k. It would be my third time but first HD renovation, big screen, and mask-wearing experience.