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it's like to be them. The children shared their wondrous interpretation of the world. The young people expressed hope and resilience in the face of the lies they feel they have been fed. While the senior citizens who have “seen it all” still laugh and live with the same wonder as the children we began with. The voices of these three generations are the film's dynamic. Their wisdom is unintended, their voices are rarely heard, and their ironies go disregarded. They are the subject and the real authors of this film. As the press and the “kids” encouraged us as we shot on location, at least one had written in a caption of a photo they uploaded to
Facebook (of us shooting at the
252:, where it was described in the Toronto Globe and Mail as a "hybrid of fiction and documentary doesn't use a traditional narrative, but it's not entirely abstract either – it's a contemplative sort of parallel storytelling, one where the elliptical space between fact and fiction combines to make a third creature that is no less true." It was subsequently released in theatres in Hong Kong on 28 September 2015 to mark the one-year anniversary of the
271:, the film's producer, spent over a year interviewing over a hundred ordinary people in Hong Kong as part of the casting process. She and Doyle then used those recordings as voice-overs to structure a loose narrative that the people were asked to act on-screen. The result is a visual poem in which Christopher Doyle's images run parallel with their words of the characters as they ponder how to live together and what society should be.
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was produced almost entirely outside of the mainstream film establishment. "All I did was create a construct for Hong Kong people to speak," Mr. Doyle said. In its quiet way, it depicts the daily life of seven million people who are still looking for their place in the world – a struggling democracy
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When it was released in theatres in the United States, Film
Comment named it "Movie of the Week," and critic Jonathan Romney wrote that the "three linked semi-documentary vignettes about a location close to the director's heart—feels as much a community project as a personal statement. It isn't so
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The way this film evolved demanded a lot more give-and-take, much more “deliberation,” more “intuitive fine-tuning” than a more narrative-driven work. We wanted to give back to Hong Kong at least a fraction of what it has given us. So we started to talk to “real Hong Kong people” to find out what
277:
In "Preschooled," "Little Red Cap" tries to resolve the question "Why are there so many gods in this world? Is it because so many people need to be saved?" by evangelising all the world faiths to her schoolmates. "Vodka Wong" releases plastic turtles to redeem the bad karma that resulted from his
288:
The characters of each generation wonder how to live, here and now. At the end of their journey, they find no answers. Yet what they do find is that they are not alone in asking the universal questions that everyone shares: who we are, how we fit in, and what the city wants to become together.
281:
In "Preoccupied," young people occupy the streets of
Central, Hong Kong. They stop the city to think about what they want for their future. Twenty-eight-year-old "Thierry the Feng Shui Master" and her crew of underground rappers and artists give voice to their discontent.
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and tidal wave of ordinary people taking to the streets to speak out encouraged the filmmakers to incorporate what was happening on the ground into the story and finish the film. In
December 2014, the producers launched a
321:. Doyle then decided to build upon the style and expand it into a feature. The rest of the film was shot over the period of one year as Suen interviewed more people and found more locations. The start of the
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Production began in late 2013, when the
Chinese online video site, in conjunction with the Hong Kong International Film Festival, commissioned Doyle to direct a short film for their omnibus film,
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campaign for production funds. A total 1,021 backers pledged $ 124,126, exceeding the original $ 100,000 goal. It was the first Hong Kong film to successfully use crowdfunding on Kick-starter.
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Doyle calls this style "realidada," a free-flowing narrative form that owes just as much to the absurdity of real life as it does to the cinematic language through which it was interpreted.
285:“Lady Swim" and "Mister Li" look "Preposterous" as they go on a speed-dating tour of the city trying to reconcile their new energies and the obligations convention has imposed on them.
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241:. It's a portrait of Hong Kong told by three generations of real people: “PRESCHOOLED” children, “PREOCCUPIED” young people, and “PREPOSTEROUS” senior citizens.
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campsite): "Please help us film our hopes and dreams." What else can a film be all about?
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much an example of the genre known as the "city symphony"—it's more like a city jam."
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352:(World Premiere) Contemporary World Cinema Section (20 September 2015)
358:(Asia Premiere) Wide Angle Documentary Showcase (4 October 2015)
450:"TIFF: Christopher Doyle's brand crisis for Hong Kong Trilogy"
317:. The short film that he contributed became the first part of
501:"Beautiful 2014 (Mei Ho 2014/Mei Hao 2014): Filmart Review"
549:"Hong Kong Trilogy: Preschooled Preoccupied Preposterous"
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Hong Kong
Trilogy: Preschooled Preoccupied Preposterous
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Hong Kong
Trilogy: Preschooled Preoccupied Preposterous
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Hong Kong
Trilogy: Preschooled Preoccupied Preposterous
237:) is a documentary-fictional hybrid film directed by
476:"Film of the Week: Hong Kong Trilogy – Film Comment"
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362:Copenhagen International Documentary Film Festival
407:(21 May 2015), nominated for Depth of Field Award
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372:Ambulante Documentary Film Festival (Mexico)
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399:San Francisco International Film Festival
250:2015 Toronto International Film Festival
244:The film had its world premiere in the "
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474:Romney, Jonathan (21 September 2017).
527:"Kickstarter Funds 'HK Trilogy' Film"
340:under the shadow of a rising China."
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625:Films directed by Christopher Doyle
575:"Capturing the Voices of Hong Kong"
387:Brisbane Asia Pacific Film Festival
350:Toronto International Film Festival
430:, 22 September 2017, pp. IMDB
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382:Taipei Golden Horse Film Festival
356:Busan International Film Festival
335:As noted by the New York Times, "
233:(known also by its Chinese title
573:Lau, Joyce (29 September 2015).
620:2010s Cantonese-language films
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635:2010s Mandarin-language films
630:2010s English-language films
615:Hong Kong independent films
173:20 September 2015
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181: (TIFF world premiere)
305:-Christopher Doyle, 2015
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278:parents’ neglect of him.
246:Contemporary World Cinema
505:The Hollywood Reporter
405:DocAviv Film Festival
344:Select Film Festivals
448:Atkinson, Nathalie.
393:Torino Film Festival
293:Director's Statement
235:香港三部曲：開門見山、愚公移山、後悔莫及
18:2015 Hong Kong film
579:The New York Times
454:The Globe and Mail
395:(22 November 2015)
389:(21 November 2015)
337:Hong Kong Trilogy
324:Umbrella Movement
319:Hong Kong Trilogy
300:Umbrella Movement
254:Umbrella Movement
248:" section at the
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190:Running time
166:Release date
82:Thierry Chow
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553:Kickstarter
330:Kickstarter
77:Connie Yuen
49:Produced by
29:Directed by
610:2015 films
604:Categories
412:References
368:Camerimage
309:Production
269:Jenny Suen
194:85 minutes
177:2015-09-20
156:Jenny Suen
112:Vodka Wong
97:Winnie Lau
56:Jenny Suen
39:Written by
364:(CPH:DOX)
213:Cantonese
207:Languages
202:Hong Kong
151:Jinpo Yip
139:Edited by
117:Kevin Lau
219:Mandarin
70:Starring
584:14 July
558:14 July
533:14 July
510:14 July
485:14 July
459:14 July
434:14 July
216:English
199:Country
175: (
61:Ken Hui
378:(MAMI)
146:AQ Lee
586:2018
560:2018
535:2018
512:2018
487:2018
461:2018
436:2018
264:Plot
102:Miso
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