Archive - 12th Five Flavours Film Festival
In the last part of his „prostitution trilogy” Fruit Chan drifts further towards fairy-tale narration full of visual metaphors which stimulate imagination and bitter satire of Hong Kong reality. Mui lives with an older man, Second Brother, on a boat moored off the coast of Hong Kong. The main source of their income is main character's prostitution, yet for Mui sex is more a matter of unfulfilled lust and irresistible biological need than simply one of the means to make money. One day she draws the attention of one of her clients - a shy underdog nicknamed Four Eyes. He bribes Second Brother to marry Mui, but living on land in a cramped social housing makes her unhappy. After all, she turns out to be a truly unique woman; her mysterious origin will push Mui and her three partners to search for the most intricate ways of sexual satisfaction. Suffice to say that Mui can do more with a papaya than Lee Kang-sheng’s character with a watermelon in Tsai Ming-liang’s “The Wayward Cloud”.
In "Three Husbands" the director once again reveals the lesser-known face of Hong Kong. Instead of skyscrapers and streets full of neon lights, the plot is set against a backdrop of junkyards on a quayside, run-down fishing villages and numerous bays, where the main characters' boat lazily floats. Fruit Chan refers to the oldest Hong Kong legends about the people from Lantau Island to sketch an imaginary tale about fierce capitalism and consumerism, which have grown into the tissue of Hong Kong inhabitants’ bodies and are becoming a cause of the city’s gradual downfall. The visual style harmonizes perfectly with the plot, drawing an extremely naturalistic and organic picture of a world that is long remembered. In Fruit Chan's perspective, the Fragrant Harbour irreversibly begins to smell of decay, and Hong Kong itself is slowly becoming a deserted city of disappointment.
Born in 1969 in China, from where his family emigrated to Hong Kong. A director, producer, actor and screenwriter, representing what is known as the Second New Wave of independent Hong Kong cinematography. Appreciated for films immersed in urban climate, for which he often engaged non-professional actors to show in a close-up the life of modern metropolis. Interested in social issues and fascinated with the Japanese 1960s avantgarde, for instance the works of Nagisa Oshima.
1991 Wu ge ji mo de xin / Five Lonely Hearts
1997 Made in Hong Kong / Xiang Gang zhi zao
1998 Najdłuższe lato / Hui nin yin fa dak bit doh / The Longest Summer
1999 Mały Cheung / Xilu xiang / Little Cheung
2000 Durian durian / Làuh Lìn Pìu Pìu / Durian Durian
2001 Hollywood Hongkong / Heung Gong you ge He Li Huo / Hollywood Hong Kong
2004 Pierożki / Jiao zi / Dumplings
2009 Chengdu, wo ai ni / Chengdu, I Love You
2015 My City
2016 Mou sha si shui nian hua / Kill Time
2018 Trzej mężowie / Sam fu / Three husbands