‘Trivisa’ Named Best Film by Hong Kong Critics

'Trivisa' Named Best Film by Hong
Courtesy of Media Asia

The Johnnie To-produced “Trivisa,” a crime thriller with a political edge, was Monday named best film of the year by the Hong Kong Film Critics Society. The film’s lead actor Gordon Lam Ka-tung earned the title of best actor.

The best director award was bestowed jointly on Stephen Chow and first-time director Wong Chun. The society said after three rounds of debates and voting, Chow’s fantasy comedy “Mermaid” and Wong’s drama “Mad World” earned the same number of votes, and the society decided to give the award to both. “Mad World” also won best screenplay, written by Florence Chan.

“Trivisa”, an intercut of three short films revolving around three of Hong Kong’s most infamous criminals, was directed by a trio of young directors Vicky Wong Wai-kit, Jevons Au and Frank Hui. (Au also directed one of the shorts in dystopian film “Ten Years.”) Lam’s role was based on notorious crime boss Kwai Ping-hung, who was sentenced to 24-year jail in early 2000s.

The film has not been released in mainland China. Nor were the previous two winners “Midnight After” and “Port of Call.”

Mainland Chinese actress, Zhou Dongyu was named best actress for her role in drama “Soul Mate.”

The society also made special recommendations for six films, including “Mad World,” “Mermaid,” “Soul Mate,” “Weeds on Fire,” documentary “Snuggle” and the Wong Kar-wai-produced “See You Tomorrow.”

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  1. Rex says:

    So Trivisa, Port of Call and Midnight After weren’t released on the mainland, eh? WHO CARES? The sooner Hong Kong filmmakers realize there’s a LOCAL audience still interested in LOCAL films by LOCAL filmmakers and start making more of them, the better off the world will be. Nobody’s expecting the action-movie heyday of 20 years ago, but even then there were a LOT of inexpensive dramas, crime films and thrillers geared to decidedly HONG KONG tastes. I can only HOPE that some of the people behind these GREAT new Hong Kong movies will start telling MORE Hong Kong stories and not give into the filthy lucre from the mainland in order to direct more soulless, revisionist period epics and nonsensical romantic comedies. Hong Kong has a rich, decades-long history behind it, something mainland Chinese cinema, in its current form, does not. Everything that came before the last, oh, 15 years or so, was PROPAGANDA. Hong Kong, meanwhile, was producing movies across the ENTIRE SPECTRUM of genres denied their mainland counterparts, and it would serve this new generation of HK filmmakers to remember that.

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