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HighNoon | 12th Jul 2009 | 最新影評Reviews | (83 Reads)

NYAFF 09 Review: HIGH NOON

Posted by Todd Brown at 9:11am.

[Our thanks to Ben Umstead for the following review.]

Make no mistake, Mak Hei-Yan (a humble woman of 24) dazzles in her first feature film outing. She’s kind of on the opposite end of the youth film spectrum compared to David Gordon Green; While Green’s George Washington is quietly filled with a lazy, dazed malaise and wonder, Mak’s film is pulsating with a heated concrete kineticism; an nightmarish intensity and angst, conjuring mid-century movements like Neo-Realism, but also trying out the cinematic vocabulary that has been developing in the last decade with such flicks as Run Lola Run and City of God. As much as it is a film that drinks deeply from the cinematic well, it is firmly grounded in the time and place of Hong Kong now and the hyper reality of youth the world over.

There is no doubt that the digital age is here and our next generations will be wired from the womb. But “High Noon” isn’t overly concerned with the disconnect brought on by technology, more often than not it acknowledges the camaraderie, and most of all the casual everyday use of cell phones, cameras, video swapping and texting. This is how things are now and people can get hurt by carelessness just as easily, if not more so in the digital age.

The opening act, which introduces us to an eclectic gang of seventeen-year-old boys in their last year of school, is treated as a comedy and the weakest link in the film. With nicknames like Smoothie, Sticky Dick, Nerd and Addie the boys get up to the usual hijinks of youth –skipping school, drinking, shoplifting. Here the film blares, pops, and bursts both in excessive and often dizzying visuals and sound. It tries to establish the ramshackle daze and rambunctiousness of the group but feels to be taking no direction rather quickly and cluelessly. I had a hard enough time keeping track of the boys from the get go, so I began to wonder where the film was going and then all of a sudden Mak reigns in control with one sugar infused meditative scene. It takes place at a playground; Lying down on the merry go round the boys look up at the night sky, laughing about their present and contemplating their future. From then on out Mak’s film adequately, if not astonishingly, shines and shocks till the very end.

As each boys’ shadows (trouble at home, drugs, girls) come to the forefront of the film the gang’s strength is tested. As much as this once again sounds like familiar territory it isn’t. This is in part thanks to Mak’s creative instinct and eye for composition. She and cinematographer, Chan Ho-yin, are able to project the boys’ feelings across every inch of the urban landscape until the screen pulsates. It is also due to the boys’ naturalism (Non-actors, Mak found many of them in school yards and basketball courts). Certain situations may feel at first telegraphed - a venerable cornucopia of “youth in revolt” acts - yet through them none of it ever feels false.

In Hong Kong the film was rated certificate III (their equivalent of NC-17 or M), though it shows no graphic sex or violence so to speak. It is all in how Mak and her fellow editors, Cheung Siu-hong and Chan Chui-hing, effectively cut a scene together, in the use of sound, reaction or counterpoint shots to suggest something of a graphic nature rather than to straight up show it. These moments can be rather harrowing, if not down right shocking and sometimes extremely upsetting; a hand, a foot on the edge of a balcony, a celebratory crowd, fireworks, a whoosh, fireworks, smiles, cheers, the moment just after impact. Mak proves capable in painting the horror and loneliness of adolescence, the fear of abnormal vs. normal, yet the film is patterned with moments of tranquility, introspection and just plain youthful exuberance, like the scene at the merry go round.

While at times the film is long-winded, and meanders on the outset, Mak shows such promise as a visualist and editor, you can tell her pulse is firmly fixed on the truth of cinema… which is…  as she said to me in our interview after the screening; ” I wanted to make a film where you might not understand it all, but you at least feel it.” Just see it and feel it. She’s certainly succeeded in that as across the board there are images simply exuding emotion from frame to frame that have stayed with me for days; the dusk to dawn solitary work of catching and cleaning clams, dry humping one’s girlfriend like a fish out of water on the sidewalk, the lunch circles where food is shared all around, the desperation in trying to stuff oneself into your mother’s suitcase before she leaves again, kicking, kicking, kicking burning trash as it scatters, waiting on the front steps of a 7-Eleven with bags of ice and a bloodied little boy, no more than eight, hands mangled, crying at the top of his lungs, saying how much it hurts. A carefree outing to the beach, the hope, the calmness, in warm waters… at high noon.

Review by Ben Umstead (An interview with director Mak to follow later this week)

“High Noon” screens as part of the New York Asian Film Festival at the IFC Center, Tuesday June 23rd, 1:05PM


HighNoon | 12th Jul 2009 | 最新影評Reviews | (78 Reads)

CHUD TAKES IN HIGH NOON AT THE NYAFF

By Alex Riviello  Published 06/12/2009

LINK : http://www.chud.com/articles/articles/19832/1/CHUD-TAKES-IN-HIGH-NOON-AT-THE-NYAFF/Page1.html

Last night I had the privilege of being invited to a special New York Asian Film Festival pre-screening for High Noon. After being incredibly disappointed not to see Gary Cooper or Grace Kelly anywhere on screen, I was quite happy to see to a fine film about lower-class youth in Hong Kong. Director Mak Hei-yan was there to introduce the film and conduct a Q&A afterwards.

It was a little surprising to see the screening taking place at the Tribeca Grand Hotel, but indeed, tucked in beneath the hotel was a plush screening room that seated 100 people. State of the art projection! Surround sound! Leather seats that don't recline! It was all very fancy and thankfully laid-back.

Due to some unfortunate technical problems during the screening it wouldn't be fair for me to review the full film, but I was incredibly impressed with it. When's the last time you saw a Hong Kong film that depicted teenagers in a somewhat negative light?
 
It starts off fairly innocently as it focuses on seven high school boys who pal around, getting into trouble at school for no real good reason except boredom and the usual teenage rebellion. But things get progressively worse as they all start to have that jarring transition into adulthood. Teen pregnancy, suicide, violence... all the worst you can experience as a kid is explored here.
 
The easiest way to describe it would probably be as Kids in Hong Kong, but that's a horribly cheap way to demonstrate what director Mak has accomplished here. I can't remember the last time a film has so accurately nailed what it's like to be a stupid teenager, getting into trouble and shirking school to hang out with your friends. Perhaps it is the director's youth that allowed her to get a handle on what so many have failed, as she was only 22 herself when she directed this film. Rounding up kids from the neighborhood and instructing them to simply roleplay, she managed to get some great, realistic performances out of them and make a truly powerful film.

It's also elicited a fair bit of controversy, as the film has somehow managed to snag a Category III rating. It's basically the equivalent of an NC-17 over there, and so unfair I can't even begin to tell you. High Noon has only tiny glimpses of violence, sex and drug use, but it was apparently the fact that they were underage that made the ratings board balk and give it the rating that usually only pornographic films get (as well as some notable horror films, of course).
 
The film does have its problems- like with the musical choices that are a little overbearing and beat you over the head, but if a movie like this wasn't rough it wouldn't feel authentic. Indeed, as Mak explained in the Q&A after the film, most of the stories were from her own youth growing up in Hong Kong.

The Q&A was fantastic, perhaps aided by the fact that this is Mak's first film and that she was so well-spoken, andclear in her intentions making the film. So many directors seem like they're just going down a list of talking points and stories from their experience, but she seemed amazed that her film is getting around so much and talked at length about the process of creating it. She wanted the world to know that this how some kids live, and while it may be shocking to a film-going public that never sees this side of things, it makes an important message. This is a director to watch, people.

After, we all went next door to fill ourselves with booze and spring rolls and shmooze with the rest of the journalist and industry folk. A really great night, one that got everyone excited about what's to come next week when the Festival really kicks off.

High Noon is screening on Tuesday June 23rd- unfortunately at 1:05 PM. If you get a chance to see it it's highly recommended, so pick up tickets through The NYAFF's official site here!


HighNoon | 3rd Jul 2009 | 最新消息News | (482 Reads)

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【寂寞有害 Solitary Kills】極短篇香港小故事系列, 由七月份開始於「號外」雜誌「讀本寫真」連載!!敬請密切留意!!

12個城市角落.12段錯落緣份全年寂寞.每月公映

連載預告 I - 夏.七月:宵夜

故事簡介:
由上水遷居至旺角的單身男子,在一個胃腸虛空的晚上,掙扎醒來,隨比飢餓更迫切的思念漫遊……
Featuring 徐天佑
Text by Heiward Mak
Photography by Topaz Leung
Art Direction by Ahong

Styling by Nova
Hair Styling By Nasaki
Make Up by Winky
Co-ordinated by Nico Tang

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