Zuk seoi piu lau

After Rotterdam, it was brushed twice on the big screen. To be honest, putting this film in the first youth film exhibition was quite a dimensionality reduction blow. Whether it is perspective, completion, theme, or performance, they are the leaders in Hong Kong films and even young directors' works this year. Er brush noticed more details missed because of English subtitles. For example, Huige named the harmonica boy amu because it used to be his son's name, and their feelings were more effectively explained; Another example is the Saigon identity of the "master", which has a deeper meaning when connected with the political background. Although this is an angry film, it is interpreted in a most powerless and sad state, which may be the living state and psychology of many Hong Kong people at present. Therefore, this is not only a human film that pays attention to the bottom people, but also a film full of expression and wants to make a voice for more people. The scene where Xie Junhao and his son met again in front of the video will still burst into tears even if you watch it again.

The streets will be swept clean.

There will be no refugees.

The related households can live in public housing.

Social workers all want to be leaders of ccp.

And reporters can only write press releases. After the evil law of ccp, there will be no more light. I would like to call that old place the old HK. I will always miss it. There used to be freedom. Those who believed in justice fought there, but the red evil regime has swept away. We are all waiting for the glorious day. .

The story is quite heartbreaking. The scene that impacts me the most is when Fai explains why they have to treat the first "meal". This film really highlights the desperate situation of the marginalised, whom are completely left behind and forgotten by almost every one in the society.

This film begins with a middle-aged man named "Fai" (Frances Ng) being released from prison after spending a number of years behind bars. Since he has no family and no source of employment, he has no choice but to find a way to make ends meet there on the bustling sidewalks of Hong Kong. Yet, despite all of the pain and adversity he has suffered, he still manages to find a few other homeless people around him that offer some comfort to him when nobody else seems to care. But as bad as things are for him, things get even worse one morning when employees from the sanitation department come along and take all of his meager possessions without warning. However, rather than simply accepting serious breach in protocol, he and his friends are convinced by a local social worker named "Ms. Ho" (Cecilia Choi) to file a civil suit against City Hall to try to gain some modicum of compensation. Unfortunately, until a verdict is finally reached, they all will have to try to survive somehow any way they can. Now, rather than reveal any more, I will just say that I had no knowledge of this film until I recently stumbled across a review of it and decided to check it out. That being said, I have to agree that it was a departure from most films made in Hong Kong in that it contained a deeper and more intense storyline than usual. Admittedly, I have no real knowledge of the homeless situation there and for that reason I cannot say whether this film adequately captures the plight of these people or not. But even so, this is still a gripping movie experience and I recommend it to viewers looking for a film of this kind.

"In DRIFTING, Francis Ng play Brother Fai, a hophead fresh out of the joint, barely ekes out his existence with other unfortunates, huddled together in jerrybuilt wooden huts in the poorest area of the city. Jun Li is tight-lipped to reveal Fai's misfortunes (as a defiance against sensationalism), who is dismally alone, no home, no family, we only get wind that he has lost a son (the cause of death is moot), and this bereavement is allayed when he becomes pally with a young, vocally-challenged runaway Muk (Or), their father-son rapport undergirds the emotional weight of the film, near the end, Li even conjures up a case of prosopopoeia to plead for Fai's utter dejection and drug-addled taedium vitae."

read my full review on my blog: Cinema Omnivore. Thanks.