A wickedly funny and very meta portrayal of the modern HK film industry. I deeply appreciate it when films try to be detailed and have their own voice and a sense of place - and this one is VERY deeply positioned in the present moment, many elements of which wouldn't have made sense even 5 years ago.
After all, it is the kind of film which has the main characters practically pray the director of Parasite will find something else to do when they discuss their own film's chances at the international film festivals. The kind of film where the leads get confused for health inspectors when surreptitiously showing up on an unsanitary pig farm uninvited - with everything about the scene evoking what we have learned about the wet markets since 2020. They are there because they want to be inspired to properly depict "rural grit" - which is rightly called out by the local official as an indulgence in poverty porn, their disappointment that the countryside around HK refused to stand in place in "pristine" deprivation nothing but perverse.
Meanwhile, their film's chief sponsor is a vaporware electric car company led by a supremely arrogant techbro - again, something that would have been difficult to imagine even in mid-2010s, yet now a reality both in the U. S. (brand names such as Nicola and Faraday have truly notorious tales to tell) and moreso in the PRC, which invested deeply and profusely into the sector. The protagonist is occasionally interrupted by his smart watch telling him to get up and start moving, since "Movement is life". Last but not least, multiple conversations are held while TV screens display footage from the Ukraine War in the background.
And as a story, this tale of an actor truly in love with his craft and looking to secure his legacy, yet also struggling against his arrogance and other character flaws is very, very thorny and ambiguous. The main character is often in the wrong, yet even his good intentions can backfire - and sometimes vice versa, while the outsiders cannot really tell the difference. The dramatic parallel between their historical film's script and the events outside it may be a little too cute at times in terms of ignored epiphanies, but then again, that is generally the purpose of such (consider the pirate comic in Watchmen.)
Here, Andy Lau may not be LITERALLY playing himself in the script, but he does compete against the literal Jackie Chan (even as it had become an "I don't think about you at all" situation for Jackie.) And the leitmotif here is taken from "In the Mood for Love", Lau's best-known work, ironically recalling the past glory he is struggling to reach again.
I don't know if I can keep going any further without crossing into the spoiler territory. Suffice it to say - there is a reason why, in a year where I saw some 70 films, this was one of my handful of perfect scores.
After all, it is the kind of film which has the main characters practically pray the director of Parasite will find something else to do when they discuss their own film's chances at the international film festivals. The kind of film where the leads get confused for health inspectors when surreptitiously showing up on an unsanitary pig farm uninvited - with everything about the scene evoking what we have learned about the wet markets since 2020. They are there because they want to be inspired to properly depict "rural grit" - which is rightly called out by the local official as an indulgence in poverty porn, their disappointment that the countryside around HK refused to stand in place in "pristine" deprivation nothing but perverse.
Meanwhile, their film's chief sponsor is a vaporware electric car company led by a supremely arrogant techbro - again, something that would have been difficult to imagine even in mid-2010s, yet now a reality both in the U. S. (brand names such as Nicola and Faraday have truly notorious tales to tell) and moreso in the PRC, which invested deeply and profusely into the sector. The protagonist is occasionally interrupted by his smart watch telling him to get up and start moving, since "Movement is life". Last but not least, multiple conversations are held while TV screens display footage from the Ukraine War in the background.
And as a story, this tale of an actor truly in love with his craft and looking to secure his legacy, yet also struggling against his arrogance and other character flaws is very, very thorny and ambiguous. The main character is often in the wrong, yet even his good intentions can backfire - and sometimes vice versa, while the outsiders cannot really tell the difference. The dramatic parallel between their historical film's script and the events outside it may be a little too cute at times in terms of ignored epiphanies, but then again, that is generally the purpose of such (consider the pirate comic in Watchmen.)
Here, Andy Lau may not be LITERALLY playing himself in the script, but he does compete against the literal Jackie Chan (even as it had become an "I don't think about you at all" situation for Jackie.) And the leitmotif here is taken from "In the Mood for Love", Lau's best-known work, ironically recalling the past glory he is struggling to reach again.
I don't know if I can keep going any further without crossing into the spoiler territory. Suffice it to say - there is a reason why, in a year where I saw some 70 films, this was one of my handful of perfect scores.