Our way

◎2008

National China Hongkong

Class diagram

Speak mandarin.

◎ The film length is 9 1 min.

◎ Director Xu Anhua Xu Anhua.

Starring Paw Hee-ching Bao Xiqing ... Mrs. Zhang.

Liang Jinlong Liang Jinlong

Liang Kuan Liang Kuan

Chen Liyun Chen Liyun

◎ Release date: March 27th, 2008, Hong Kong.

Introduction:

Zhang Jia 'an, a candidate who lives in Tin Shui Wai with his mother, grew up in a single-parent family. He lived alone with his mother and listened to her words. His grades were not excellent, but they were ordinary.

Although Zhang is a single mother, she never feels sorry for herself. On the contrary, she worked hard to raise her son and worked hard-she worked as a salesgirl at a fruit stand in a supermarket and was conscientious about her work. When she was young, she used her hard-earned money to send her two younger brothers to study abroad. Although I have little contact with my younger brothers, I have deep feelings.

Liang Huan, who used to sell fruit in the urban area when he was young, later returned to the sweet water wai community, lived in the same building as Zhang Mu and became friends with Zhang Mu. ...

Zhang Jia 'an, Zhang Mu and Liang Huan, like most people in Hong Kong's contemporaries, lived an ordinary and seemingly rigid daily life, and also reflected a touch of human touch in that dull day, revealing the warmth of Tin Shui Wai. ...

A brief review of movies:

This is a faint but touching film about community life-drama films with community background appeared many times in the 1980s and 1990s, such as Dong Chengyi's An Epilepsy Story and Zheng Zeshi's Why Me? Zhang Zhiliang's The Man in the Cage is representative. Last year, decameron directed by Qiu Litao, Sex Workers and Whenever Things Change directed by Wing-cheong Law were all feature films around the community. Xu Anhua once again paid attention to the daily life of ordinary people in the community in a down-to-earth and compassionate way.

As the film title "Days and Nights in Tin Shui Wai" says, the focus of Xu Anhua's images is Tin Shui Wai, a "sad" community that has been reported by the media. At this year's Hong Kong International Film Festival, Besieged City, directed by Lawrence Ah Mon, was also shown together with Days and Nights in Tin Shui Wai. This film is also based on the story, but tends to depict the sad events in this community (that is, the upcoming events in this community). In Days and Nights in Tin Shui Wai, although there are also problems in the growth of single-parent families, lonely old people and middle school students (such as puppy love and loneliness). ), on the whole, it is permeated with a very light human touch, which makes it seem warmer.

The three main characters in the film represent the three most common generations in this community. His son Zhang Jiaan represents the younger generation. His grades are average, so it is inevitable that he has some ideas about the future. There will also be some problems such as puppy love among his classmates. After the exam, he will wait at home and play video games, which is even the most common state among middle school students in many cities in the mainland. Mother represents middle-aged Hong Kong people. Although she faces all kinds of problems in her daily life, her joys and sorrows have long been integrated into her strength. She is doing what she can with peace of mind and calmness, trying to help others, believing that tomorrow will be better-just like many daughters who were born in the 1950s and 1960s and grew up in the economic prosperity of Hong Kong in the 1970s, she gave up her studies early and went out to work to support her brothers at home. After entering middle age, she lived a low-skilled life. As for the representatives of the elderly, Liang Huan, who sold fruits in the bustling area of the port city for a living when he was young, returned to his native land, Tin Shui Wai, to support the elderly. She seems to be a little careless in calculating her own days ... The story of three generations is like a life cycle (the film seems to imply that ordinary Zhang Jia 'an will go to work in the bustling urban area, or go back to his former residence for retirement after a hard or leisurely life), and it is no longer a "besieged city" style.

Behind the scenes:

"The slogan of equality between men and women has been shouted for many years, and movies are still a male-dominated world. In the past 30 years, there has always been a Xu Anhua standing silently in the crowd of men-he is not happy to make movies, but he is willing to make movies. Although his works are high and low, almost no female directors can match him in Hongkong and even in Asia. " In the first issue of Hong Kong Film magazine, female directors Xu Anhua, who still insists on filming in Hong Kong film circle, was introduced. Recently, she also won the Fukuoka Asian Culture Award, becoming the first woman to win the award, which is also an affirmation of her artistic career.

Xu Anhua, born in Anshan, Liaoning, whose mother is Japanese, was deeply influenced by his grandfather in China's traditional culture and classical literature. She grew up in Macao and Hong Kong, and she liked watching movies in middle school. After receiving a master's degree in English literature and comparative literature from the University of Hong Kong, she went to london film school to study film. After returning to Hong Kong, she worked as an assistant to Hu Jinquan and then worked in a TV station. Later, in the late 1970s, she directed films, and successively directed such excellent works as Crazy Robbery, Going to the Angry Sea, Forty Women, and My Aunt's Postmodern Life (which later became Hong Kong).

Recently, in addition to winning the Fukuoka Asian Culture Award, her new film "Days and Nights in Tin Shui Wai" will be exclusively shown in Broadway Cinema on July 17, with a tentative screening period of one week.

Days and Nights in Tin Shui Wai does not talk about the sadness of the city, but describes the situation in Tin Shui Wai from a warm perspective. The film crew entered the area to shoot the scene, and the residents enthusiastically assisted and were willing to appear. In Xu Anhua's eyes, Tin Shui Wai is not gloomy, and residents, like many Hong Kong people, are satisfied with the plain life. Just like when Xu Anhua is not filming, he goes to drink a cup of milk tea and eat a pineapple oil every day (the pineapple bag is cut into a thick piece of butter horizontally), and takes care of his mother at home, leading a normal life. Several family tragedies occurred in Tin Shui Wai, which attracted the attention of Hong Kong. When excessive attention is even regarded as a gimmick, the enthusiasm of the outside world cools down. Before the tragedy of abandoning her little daughter in Tin Shui Wai, Xu Anhua wanted to shoot a story about it. When she contacted the residents in the area, she found that they didn't report that it was sad, so she decided to describe the people and feelings here in a realistic way and didn't want to advertise as "the city of sadness" any more.

In order to collect data, senior social worker Shao arranged to follow a social worker from Langqu to observe the situation. Her first impression of this place was a group of lovely housewives who dragged men and women to learn to make short films. "At that time, I saw each of them holding a DV camcorder and shooting around with social workers. Social workers are like the tour guides of the whole class. It feels strange at first. Look at them with their children, there are many things to shoot along the way, such as rain cover and tiger balm. It's really admirable. You'll like it when you see it. I think this is the spirit of Tin Shui Wai. "

The process of finding heroes is full of twists and turns.

Xu Anhua even invited Chen Yulian, who hasn't filmed for a long time, as a guest. "Privately, Chen Yulian and I are not good friends, but I like her play very much. I invited her to shoot several times, but she didn't want to shoot. I will find her again this time. She promised at once that she would come back soon. I think she has matured a lot. " Of course, the positive film theme is also the reason why Chen Yulian is willing to return to the screen. Xu Anhua also found Paw Hee-ching, who had worked together, as the heroine to play a single mother, but it was difficult to find a hero. "1 month I have met more than 100 boys, but I can't find a suitable candidate to play this middle school student. I even thought about using a TB (tomboy, masculine girl) to cross-dress. When he finally found it, he suddenly disappeared. At that time, the crew was going to find someone else. The more I think about it, the less angry I am. I simply went to his house to find someone. "

Xu Anhua couldn't help laughing at the wonderful process of suddenly killing the door: "I went at 9 o'clock that night, and the boy's mother answered the door. She looks like a younger version of me! When she saw me, she was also surprised and stammered,' You ... you ...' You are Xu Anhua.' When she knew the whole thing, she explained that her son was introverted and lacked self-confidence, and then even came to help during his period. The boy came back to open the door and saw all the women in the room waiting for him. He was instantly shocked! "As a result, Xu Anhua successfully found the hero. Sanniang advised the little boy to take on the play, which was different from previous films. This time, Xu Anhua was more relaxed when dealing with real life subjects. But as long as there is a suitable story, she said that she also wants to find Jacky Cheung, Tony Leung Ka Fai, Liu Qingyun and other superstars to start shooting. "I don't really want to go back to the mainland to film. It takes at least a few months to start shooting a movie. My mother is old, and I don't trust her. "