Dahomey in Hong Kong -- the Mati Diop documentary at the Hong Kong International Film Festival, that is! (Film review)

  

In a cinema waiting for a 2024 Hong Kong 

International Film Festival screening to begin

 

Dahomey  (France-Senegal-Benin, 2024)

- Mati Diop, director and scriptwriter

- Part of the Hong Kong International Film Festival's Cinephile Paradise program

 

This postcolonial documentary was one of the films I was excited to see at this year's Hong Kong International Film Festival.  For one thing, Dahomey won the Golden Bear at this year's Berlinale.  For another, in another lifetime, I was an Africanist.  And for a third, I've long been a museophile -- and have worked in museums on four different continents. 

 

There are those who might think that Dahomey would be anti-museums. Mati Diop's film is, after all, about the repatriation of 26 plundered royal treasures from the Kingdom of Dahomey (~1600-1904) from museums in France where they had been on exhibit (and/or storage) to Benin, the West African state in whose territory Dahomey would be in.  

 

But, as we see in the documentary, the repatriated artefacts were/are installed upon their return to the African continent in another museum -- this one in Abomey, the old royal city of the Kingdom of Dahomey -- rather than, say, a palace or place of worship.  Something which is one of the subjects of a very interesting discussion at the University of Abomey-Calavi that was the highlight of the the film for me, and which I wish even more of it had been shown.

 

Up until the inclusion of the discussion in Dahomey, I worried that the story being presented was one that was too simple and privileging emotion.  This particularly since, early on, the words addressed to the audience was presented as monologues emanating from the artefacts themselves (rather than actual living human beings) and Mati Diop seemed most interested, in the early days after the objects' repatriation, to showing us expressions of awe and delight on the faces of those privileged to be among the first to see them back on African soil after years (centuries even) away.

 

This is not to say that there weren't individuals at the University of Abomey-Calavi discussion who were happy for the return of the Dahomey treasures to their ancestral homeland.  But, all in all, the students' exploration and interrogation as to how the people of Benin should feel about only 26 items having been returned even while thousands remain outside the country, who their return most benefits, how to make them more accessible (including to residents of Benin who live far away from Abomey, the poorer residents of the country, etc.) and so much more added much appreciated complexity to the story.  

 

In so doing, they also made this documentary offering so much more better and thought-provoking.  Kudos, really, to them.  And a reminder that the young deserve to be heard, not just the elders and ancients; and, actually, that they -- never mind Africans -- are not a homogenous bloc at all!     

 

My rating for this film: 8.0 

Takeshi Kitano's Kubi entertained as well as shocked its Hong Kong International Film Festival audience! (Film review)

  

One day of a chart of 2024 Hong Kong International 

Film Festival screenings that includes information about

which were sold out and which not

 

Kubi (Japan, 2023)

- Takeshi Kitano (aka Beat Takeshi), director and scriptwriter

- Starring: Takeshi Kitano,Hidetoshi Nishijima, Ryo Kase, Tadanobu Asano, etc.

- Part of the Hong Kong International Film Festival's The Masters program

 

Back in 2017, I saw online chat and advertising for a Japanese epic centering on the decisive Battle of Sekigahara, which took place in 1600 and pitted the forces of Tokugawa Ieyasu against a coalition of Toyotomi loyalist clans, and eagerly awaited its arrival in Hong Kong cinemas (or, at least, film fests).  However, to date, Sekigahara does not appear to have been screened here -- or even gone straight to video.  The sense I got was that its subject was considered too Japan-specific for many overseas markets, including Hong Kong (although it did screen at a few North American film fests, including Toronto and Hawaii), so few cineastes outside of the Land of the Rising Sun would be interested in checking it out; this even though its cast included the likes of Koji Yakusho.

 

Happily this fate has not befallen another movie chronicling another major Japanese historical event -- this one the 1582 Honno-ji Incident.  At the very least, Kubi (whose title translates into English as "Heads"; presumably because so many of them are seen getting cut off in the film!) has made it to Hong Kong by way of screenings at this year's Hong Kong International Film Festival; thanks, I have a feeling, to its boasting a star studded cast, featuring art house and cult movie favourites, and headed by its director-scriptwriter, Takeshi Kitano.

 

The character of the future shogun of Japan also appears in Kubi but Tokugawa Ieyasu's just a supporting character -- and one there for comic relief at that! -- in the film that is said to have been some three decades in the making.  Rather, far more attention is given to the characters of: the then dominant warlord, Nobunaga Oda (played by Ryu Kase); the warlord nicknamed "the monkey" (because he was said to physically resemble one!) (portrayed by Takeshi Kitano), one of whose (more) capable lieutanants is played by Tadanobu Asano; and another high-ranking vassal, Mitsuhide Akechi (essayed by Hidetoshi Nishijima), who Nobunaga -- who had homosexual tendencies -- physically coveted.     

Before anything else: yes, homosexuality features pretty prominently in the film. And it's a historical fact that it was fairly common among samurai.  But even though there has been at least one film about it (Gohatto), it seemed that a significant proportion of the audience at the screening I attended were unprepared for it.  And it didn't help that the first homosexual scene in Kubi involved violence and seemed to be at least partially played for laughs.  (Consequently, cue laughter -- often uneasy in terms of "Should I be laughing?" as opposed to purely homophobic, but uncomfortable and rather strange to hear all the same -- for a number of other homosexual scenes in the film; including ones that I personally thought were meant to be humorous!) 

 

If Takeshi Kitano being its director didn't already get you anticipating it, Kubi is by no means an ordinary, run-of-the-mill samurai epic.  Rather, it has copious amounts of startling violence, satire and what traditionalists might deem to be disrespect of samurai ways and actual historical personalities -- with some of the biggest names in Japanese history depicted acting outrageously and even actually dishonorably as they scheme against one another in their bids to gain power or, sometimes, just remain alive!

 

Your mileage might vary but I found Kubi to be enthralling and entertaining.  And even while there definitely were scenes that made me wince and gasp in shock, there also ones that made me laugh (as intended, I think!) and still others that I enjoyed for the sheer cinematic nature of it all.  At the very least, there most definitely is a sense that a big budget was assembled and lavished on this cinematic work; and used in ways that are masterful -- as one might expect from Takeshi Kitano who, by the way, had not planned to appear in the movie and only did so after "the film’s producers told him it would be harder to market overseas if he didn’t also appear"!

               

My rating for this film: 8.5

Kolheisel's Daughters was the first film I viewed at the 2024 Hong Kong International Film Festival (Film review)

  

Tickets for the 2024 Hong Kong International Film Festival :)

 

Kohlheisel's Daughters (Germany, 1920)

- Ernst Lubitsch, director and co-scriptwriter (along with Hanns Kräly)

- Starring: Henny Porten, Emil Jannings, Gustav von Wangenheim

- Part of the Hong Kong International Film Festival's Restored Classics program

 

It used to be that I'd be able to get a ticket for at least one of the opening films (there usually are two) of the Hong Kong International Film Festival.  For the fourth year in a row though, I was unable to do so -- as tickets for screenings of Hong Kong films (which the opening films tend to be, though there have been exceptions (e.g., in 2018)) tend to get snapped up pretty quickly these days; thanks in some part to there Hong Kong films having reconnected with local audiences in recent years, and also to some extent because people have come to worry that certain local films won't get screened outside of the HKIFF (cf. Stanley Kwan's First Night Nerves (2018)).

 

Thus it was that my HKIFF-ing began on the second day of this year's Hong Kong International Film Festival: with a screening of the 4K restored version of Ernst Lubitsch's silent comedy, Kohlheisel's Daughters; with live musical accompaniment courtesy of the Hong Kong New Music Ensemble.  An adaptation of the play Kohlhiesel's Daughters by Hanns Kräly, Lubitsch's frequent collaborator, this 1920 film went on to be remade three times; a testament to the original's success, and the story of two very different sisters and the main men in their lives striking a chord with audiences of the day.

 

In view of the film now being 104 years old, it's fair to say that Kohlheisel's Daughters show its age; with a storyline that involves daughters requiring their father's permission to marry, characterisations of women that are on the sexist side by today's standards, and a depiction of a travelling salesman that looks to have an anti-Semitic tinge.  At the same time though, the passing of more than a century cannot prevent viewers from admiring the talent of lead actress Henny Porten -- who portrayed not just one but both of Kohlheisel's daughters... and invested them with such distinct personalities that there was no mistaking one for the other!    

 

Porten is first seen as Gretel, a maiden who cares about her appearance and attracts the attention of many men, including Xavier (played by Emil Jannings), who falls so hard for her that he seeks her hand in marriage.  Papa Kohlheisel (essayed by Jakob Tiedke) refuses to let Gretel marry before her rough, tough sister Liesel (also played by Henny Porten) though; leaving Xavier frustrated, until his friend Seppl (played by Gustav von Wangenheim) suggests that Xavier marry Liesel, then acts so awful to her that she will leave him, so he's cleared to then marry Gretel! 

 

Suffice to say that things don't go as Xavier expects.  Still, things do end up in a way that he and a number of others find quite satisfactory!  Speaking of satisfactory: it's actually quite hard for me to see why any woman would want the physically strong but generally oafish Xavier for a husband.  I guess what got a man appearing to be a good catch was very different in 1920s rural Germany to now, even -- I'd wager -- in the same land!   

 

My review for this film: 7.0                   

The Moon Thieves is a fun watch, and maybe more! (Film review)

  

Advertising for the second Lunar New Year comedy 

I viewed in 2024 :)

 

The Moon Thieves (Hong Kong, 2024)

- Steve Yuen, director and co-scriptwriter (with Chan Kin-hung)

- Starring: Edan Lui, Anson Lo, Louis Cheung, Michael Ning, Keung To

 

This year's batch of Hong Kong Lunar New Year movies have been star-driven, with Rob n Roll boasting the the single biggest star name in Aaron Kwok. But it's Louis Cheung who will be the festive season's acting box office champ thanks to his appearing in not one but two 2024 Lunar New Year offerings; at least one of which is still in Hong Kong cinemas over Easter weekend!  And while he's part of an ensemble cast in both Table for Six 2 and The Moon Thieves, his parts are significant in both.  

 

In this Steve Yuen movie, Cheung, together with MIRROR members Edan Lui and Anson Lo, and award-winning actor Michael Ning, make up the titular "moon thieves": a heist crew recruited by "Uncle" (played by another MIRROR member in Keung To) -- a powerful, even while surprisingly young, underworld watch dealer who took over the nickname and business from his late father -- to go to Tokyo and steal three rare (and thus super valuable) watches housed in a Japanese company's safe. 

Edan Lui has arguably the most eye-catching role as Vincent, an antiques watch counterfeiter with quite the watch knowledge (and obsession). As explosives expert Mario, Michael Ning definitely stole some scenes though, while Anson Lo as Yoh, the young lock-picking artist, looked to be able to have fun with his role too.  But it's left to Louis Cheung's Chief, the leader of the crew, to hold things together -- and that he does ably. 

 

Watching Table for Six 2 and The Moon Thieves just a few weeks apart increased my Louis Cheung appreciation due to his having had very different roles in the two pretty different movies; yet managing to add gravitas to both and infuse emotional depth to generally light (in terms of mood and also dramatic heft) films as a whole as well as his characters in them.  Also, I appreciate how he looks able to hold his own and appeal in both a movie where the big names were a generation older than him (Table for Six 2) and then again in another where the star attractions were decades younger than him (The Moon Thieves). 

Incidentally, I'm sure that many people went to see The Moon Thieves primarily -- or even solely -- because of there being MIRROR members in it! While I wouldn't describe myself as a fan of the music group or even any of its individual members, I will say that I've never been put off by the presence of any of them in a movie (unlike, say, with...Aaron Kwok.  Yes, there's a reason why Rob n Roll was not a movie I made a beeline to go watch!)  And, in fact, I think that all of that group's trio acquitted themselves well in this fun film.

 

When viewing this festive offering, I found myself not thinking at all about Hong Kong's political situation or pro-democracy protest movement.  Those who don't live in Hong Kong probably will think "Of course, it's just an entertaining -- even mere "throwaway" -- heist movie, after all"!  But upon further reflection, the way that you have people who don't have much in common come together to form a team and end up bonding while working towards a common purpose is something that, well, does remind me of how things were in 2019-2020.  Yes, I may be overthinking it.  But, ultimately, I think this also is why I do think that The Moon Thieves is a very Hong Kong movie designed to appeal to Hong Kongers after all!

My rating for this film: 7.5

Article 23 has come into effect, and already been wielded

  

The kind of bookstore I wish could flourish in Hong Kong

 

Article 23 came into force last Saturday (March 23rd, 2024).  Even before it came into effect, yet another wave of fear had swept Hong Kong -- and with it, announcement of store closures and such.  Although pro-democracy/free speech Mount Zero bookstore announced its upcoming closure (at the end of March; i.e., this Sunday) some weeks back, it clearly is a victim of the double whammy that's Article 23 and the National Security Law China imposed on Hong Kong on June 30th, 2020.

 

Over the weekend, I visited another of Hong Kong's remaining independent bookstores.  Even while some books that clearly showed its pro-democracy/free speech credentials remained on display, a staffer told me that they were other books that they had removed some others from their shelves while they waited to see where the new "red lines" were being drawn.  Put another way: they were anticipating that the "red lines" would be further tightened and there be less space for free speech and such in the city; and also waiting, like other Hong Kongers, to see Article 23 being wielded against people.

I must admit that a part for me was imagining horrors like mass arrests taking place at the stroke of midnight or pre-dawn on Saturday -- and was already counting my blessings later that day and Sunday that nothing directly Article 23 related had happened over the first 48 hours or so.  On Monday evening, however, I heard rumblings that something untoward had happened involving a jailed activist-protestor; and confirmation came along yesterday that Ma Chun-man had been denied the early release from prison that his family and friends who went to wait for him to come out of the Tong Fuk Correctional Institution on Monday thought he would be given.

 

Known as Captain America 2.0 (because he often dressed up as the Marvel superhero during the 2019 pro-democracy protests), "Ma was convicted in 2021 for inciting secession and was initially sentenced to five years and nine months.  He appealed and the sentence was reduced to five years due to good behavior, earning him a one-third remission".

 

All this was before Article 23 came into effect, however.  And "While the city's law stipulates eligible prisoners can be released before their term ends, the new security law allows the government to deny such rights."  Which is what happened; making Ma the first known case of an individual denied freedom and penalised under Article 23.

Some further details from the Nikkei Asia article reporting this: "Ma Chun-man, a former delivery man who was found guilty of inciting secession on at least 20 occasions in public and on social media between August and November 2020. Ma was accused of chanting slogans advocating independence from China." Read that again: he CHANTED SLOGANS. (In other words, we are talking about speech crimes.)

 

Quoting again from the Nikkei Asia piece: "The new security law is more comprehensive than one that was imposed by Beijing in June 2020 to punish secession, subversion, terrorist activities and collusion with a foreign country or external forces that endangered national security. The new law includes treason, insurrection, theft of state secrets, sabotage against public infrastructure, including computer systems, and external interference in domestic affairs."  

 

At the same time, it's worth noting that Hong Kong's Basic Law also includes the following Articles:

Article 27:  Hong Kong residents shall have freedom of speech, of the press and of publication; freedom of association, of assembly, of procession and of demonstration; and the right and freedom to form and join trade unions, and to strike.

 

Article 28:  The freedom of the person of Hong Kong residents shall be inviolable.

No Hong Kong resident shall be subjected to arbitrary or unlawful arrest, detention or imprisonment. Arbitrary or unlawful search of the body of any resident or deprivation or restriction of the freedom of the person shall be prohibited. Torture of any resident or arbitrary or unlawful deprivation of the life of any resident shall be prohibited.

Article 29:  The homes and other premises of Hong Kong residents shall be inviolable. Arbitrary or unlawful search of, or intrusion into, a resident's home or other premises shall be prohibited.

Article 30:  The freedom and privacy of communication of Hong Kong residents shall be protected by law. No department or individual may, on any grounds, infringe upon the freedom and privacy of communication of residents except that the relevant authorities may inspect communication in accordance with legal procedures to meet the needs of public security or of investigation into criminal offences.

It remains to be seen though how strongly they will be upheld, especially vis a vis Article 23.  So, please, don't look away from what's happening in Hong Kong -- the original title of Humans Right Watch's Acting China Director Maya Wang's piece in the New York Times which bemoans, among other things, that "visitors to Hong Kong often fail to recognize the transformations taking place beneath the enduring glitz of the city", and cites a recent Pew Research Center survey having found that "more than 80 percent of Hong Kongers still want democracy, however remote that possibility looks today".

On the eve of Article 23 coming into effect

 

Poster seen in Hong Kong back in October 2014

 

This past Tuesday, Hong Kong's homegrown national security law (known as Article 23) was fast tracked through the territory's Legislative Council.  "With unanimous support from all 89 lawmakers, the bill is now set to take effect on March 23 — nearly a month earlier than many observers had expected,"  DW's Yuchen Li (in Taipei) and Phoebe Kong (in Hong Kong) reported.

"The specific laws will introduce a range of new offenses including treason, espionage, external interference and disclosure of state secrets – some of which are punishable by up to life in prison.  Following the first passage of a sweeping national security law Beijing imposed on Hong Kong in 2020, the latest bill is widely believed to further undermine the city's freedom and autonomy promised by Beijing after the region returned from British colonial rule in 1997," they continued.

In the days since, I've felt a range of emotions.  On Tuesday evening, I was much calmer than I thought I would be.  I'm not sure if it was because I was feeling numb, this news was very much expected (once Hong Kong Chief Secretary Eric Chan announced in early January that work on Article 23 would be completed this year) or still trying to process the news last Saturday that a Hong Kong court had sentenced 12 people (including popular actor Gregory Wong, activists Ventus Lau and Owen Chow, and former University of Hong Kong student union president Althea Suen) to between 54 and 82 months in prison over the storming of the city’s legislature council building during a pro-democracy protest in 2019.

 

While they already had been found and/or pleaded guilty earlier, the fact of the mattter is that their sentences are incredibly harsh.  For comparison, contrast and context, as was observed on Twitter: "Seven cops caught on camera beating a zip-tied protestor got 15–18 months; man who stabbed activist politician “Long Hair” with a metal chisel got 3 months; attacker of three at a Lennon Wall, incl a reporter who lost some lung and could’ve died if not hospitalized, got 45 months." 

 

Small wonder, then, that "Right after the court dismissed [for that case]," DW reporter Phoebe Kong witnessed "relatives, friends & supporters weep[ing] in each others' arms outside the courtroom. The sobs of an elderly woman had echoed & lingered for so long that she could barely stand."

 

As it so happened, I spent last Tuesday evening in the company of a friend who had been in that court.  I think being with that friend and similar minded people helped me to stay calm.  Meeting up and being with other friends in the days since has helped too: to, among other things, remind one another that we are still here, we still support one another, and we all still really f**king love Hong Kong.

 

So, here are the words and mantras I plan to live by for today and the coming days: Keep calm and carry on.  Live in truth.  Figure out what you can still do, and ga yau!

Thoughts triggered by reports that Article 23 will be passed (very) soon

  

Spotted in Hong Kong yesterday

 

Sharing some things I wrote on Twitter late last night after seeing the news that Article 23 would be gazetted today (with typos there hopefully corrected here):

 

Something many people outside of Hong Kong (still) don't seem to realise is that: People went on protest marches because Hong Kong didn't have democracy but they still felt the government would listen to over 500 thousand protest marchers. But when Carrie Lam didn't listen on June 9th and then 16th, 2019... 

 

Put another way: if we had genuine universal suffrage, there probably would not have been those mega protest marches. And what REALLY killed off the will to have those mega marches wasn't the national security law but the feeling/knowledge that the government WILL NOT LISTEN.

 

 Those people lamenting that Hongkongers have lost their courage and don't want to comment (on camera to the BBC, etc.) about Article 23: why should we risk arrest, jail, etc. when we knew/know what we say will just fall on deaf ears?

 

I mean. Think about it: 2 million people out of a population of some 7.5 million went out on the streets on June 16th, 2019. Young, elderly, some pregnant women, people on wheelchairs, etc. And still our message was ignored. And we -- non-violent protestors -- were derided as rioters. How insane is that?!

 

And for those who say 2 million is less than one third of the population: think of the people who couldn't attend that day -- who were working that day, in hospital, who happened to not be in Hong Kong that day, etc. And, also, that the majority of the voters on November 24th, 2019 voted for pro-democracy candidates.

 

And when you look at just 2019 (not even 2020, 2014, every July 1st from 2003, etc.), with protest rallies and marches taking place weekly (with some weeks and days having more than one event): we are talking about A LOT of (committed) people.

 

In sum: there were/are lots of people who wanted democracy, who didn't want Article 23 to be passed, who really f**king love Hong Kong. And that's what keeps us going (and the majority of us here): the knowledge that We. Are. Still. The. Majority. In. Hong. Kong!

 

And for the record: As Anna Kwok (yes, that Anna Kwok), noted: "Article 23 will likely pass next week"; with her Hong Kong Democracy Council noting that "the [Legislative Council's] Bills Committee will host special sessions on Saturday & Sunday to go through every provision of Article 23."

 

Today, I saw someone Tweet that after Article 23 is passed, he will delete his Twitter account.  And, sadly, I think he isn't the only one who will do so.  We saw this happen after China imposed the National Security Law on Hong Kong back in 2020 after all -- and what's been described as Hong Kong's own national security law is threatening to be quite a bit harsher and thus scarier.

 

I would be lying if I said that I've not thought about deleting my social media accounts and also this blog.  But I also got to thinking that if the Hong Kong government wanted/wants to go after me, they'd already have copied those of my writings they found/find offensive.  So if I delete this blog or Tweets, etc., it just means "the public" won't be able to read them -- as opposed to the authorities.

 

Consequently, they will stay.  Though for how much longer I will update them... well, let's see how it all goes (or not, as the case could be), shall we?  If nothing else, I learnt a long time ago to: a) never say never; and b) to not try to predict the future -- because so much has happened and can happen, both bad but also good, that we just really couldn't envisage or imagine until it all did!