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HOMECOMING

Hong Kong, 1984 (MIFF 1985)

Director: Yim Ho

Shan Shan, a young businesswoman tired of the materialistic life in Hong Kong, returns to the small village in southern China to visit the grave of her recently deceased grandmother. She meets her childhood friends, Ah Zhen and Tsong, now happily married with a daughter. But her presence soon upsets theirmarriageandherattemptstoenlarge their vision only point out the cultural gap between China and Hong Kong. Eventually, she leaves for home, promising to return.

"When I made my first film, The Extras, I knew it wasn't my kind of film, but I was seduced into making it Then I signed a two year contract with Golden Harvest to make The Happenings. This too had to be a commercial film but at the same time I wanted it to be a more personal work. That's why the film ended up being caught in the middle. Following this, I was pressured into making another comedy, Weddings Bells, Wedding Belles, which was a total flop. I took it as a sign from heaven! But it wasn't until I went through a very traumatic two years, trying to reconcile myself to the death of my father, that I began to think deeply about the kind of film I wanted to make. It was from this experience that 1 thought of abstract ideas that are the theme of Homecoming - life, death, and the fragility of human relations.

Most Hong Kong films are very dramatic, with lots of camera movements, closeups and panning. Mine has very little of that. I suppose I was influenced by my experience in producing a stage play - an adaptation in Cantonese of Eugene O'Neill's Desire Under the Elms. I tried to draw some comparisons with theatre and theatre audience. In other words, I wanted the camera to be like an audience, looking at the whole scene but able to focus on the main characters or moments of action. That's why there is little closeup in Homecoming and lots of foreground and background movement. I think it works particularly well in this village setting because so much is happening all the time in the villagers' daily lives and so much beauty to look at, yet there is still a sense of intimacy with the main characters."

- Yim Ho

See also...

THE DAY THE SUN TURNED COLD

... ... From the director of Homecoming (MIFF 84) and Red Dust (I990)-Yim Ho one of the leaders of the 80s Hong Kong resurgence-comes a grip­ping Chabrol-esque thriller, winner of the top prize ... More »

LOVE IN A PUFF

“A eulogy to lung pollution, Love in a Puff makes sharing a pack of cigarettes look sexier than sharing a bed.” - Hollywood Reporter ... In post-cigarette ban Hong Kong, smokers gather around ... More »

VENGEANCE

Vengeance (Baochou) Hong KongTake John Boorman's classic revenge drama Point Blank and transplant it to northern China in 1925. After Chinese opera player Guan Yulou is murdered by a group of ... More »

LI LIANYING - THE IMPERIAL EUNUCH

From Tian Zhuangzhuang, the director of Horse Thief, comes this unique re-telling of the long reign of Tz'u-hsi, the Empress Dowager of turn-of-the-century China, as seen through the memory of Li ... More »

INFERNAL AFFAIRS

Taking its place besides the classic John Woo and Tsuik Hark Hong Kong action films of the 80s and 90s, Infernal Affairs is as hard boiled and relentless as they come. Yan (Tony Leung Chiu-wai) is an ... More »

HAPPY TOGETHER (M)

Garnering high praise and multiple festival awards upon its release in 1997, Happy Together (MIFF 1997) instantly became a cult classic for filmmaker Wong Kar-wai. ... After his melancholic epic ... More »

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