My Next Step

When facing a path with no future or precedent success, will we ever choose to stay? Cheuk Cheung’s My Way explores the Cantonese Opera tradition of male Dan performers, men who play female roles, against the backdrop of a Hong Kong society increasingly putting less value on art. Although female performers have long been part of the mainstream of Cantonese Opera, the film follows the stories of two young men who are still fascinated by the art of the male Dan, striving to find their own way to carry on the practice. A moving and searching look at the struggle for identity, My Way is a colourful, musical and moving film which offers a unique and highly personal look at perseverance in the face of a changing society.

Shifting his lens from Cantonese opera to Japanese Noh drama, documentary filmmaker Cheuk Cheung continues his exploration of complex gender issues ingrained in traditional theatres. For seven centuries, only the male body has been granted the privilege to inhabit this highly stylised art form that embraces spirituality in subtle movements. The film traces the journey of third-generation Noh performer Uzawa Hikaru, a young woman who makes her presence in the male-dominated space; yet behind the mask lies a daughter yearning to seek a resolution beyond her mother’s path – a quest to fuse body and soul in pursuit of the profoundly mysterious aesthetic.

This film is a portrait of unique cultural space for Spirits, Gods and People. While permanent theatres are commonly built in most cosmopolitan modern cities, Hong Kong preserves a unique theatrical architecture, a Chinese tradition that has lasted more than a century - Bamboo Theatre.

Since 2017, the cognitive ability of Yin's grandma began to deteriorate. Since then, Yin has become one of the caregivers in her family, taking care of her granny's diet, health and emotion. Before the epidemic, every summer, granny would return to her hometown in Xiamen in the mainland China to gather with her sons and other relatives there. During granny's visit to her hometown, Yin would take this opportunity to get some rest and do her own business. However, after the outbreak, Yin's granny has not returned to Xiamen for more than two years. Now she stays at home almost every day. Her cognitive decline seems to become more serious, and she is more eager to keep her family members close to her, especially Yin.

An anonymous love letter addressed to P5 student Lam Siu-wai throws her and her classmate So Hoi-shing into turmoil. The duo decides to find out who wrote the letter. Thus begins a journey whereby the two kids get their first taste of many things unknown to them.

Exceeding all his expectations, Ming is chosen to represent his school at running. He treasures this last opportunity in his secondary school life and does his very best to prepare for it. However, on the eve of the competition, he decides to give the opportunity to his best friend. There is more to competition than just the end result. Pride, dignity, dreams and friendship are put to the best.

The documentary portrayed one of the most established dance companies in Hong Kong which has a history of over four decades. With a tradition of blending Chinese dance and ballet together in the training, the dance company has set sail to re-evaluate its artistic essence by adapting new physical disciplines and philosophy, picking up different cultural traces, meditation and Chinese martial arts. Through monologues of the company members, the film unveiled their fears, self-doubts, and findings in their quest to refine their dance forms and express their cultural roots. It's an uncertain journey towards the cultivation of inner peace and the essence of movement and stillness.

Two people cross paths every day but they hardly know each other. A Filipino domestic helper and her Chinese employer's son strike up an unlikely affair, one which forces them to come to terms with their sense of loss and alienation.

We see a rock. It transcends languages and cultures. It traverses time and space. Perhaps it has its own nature and memories.

Hong Kong started and flourished as a fishing port in the past, and its people have long been committed to worshipping ancient deities for their blessings. With over a hundred Tin Hau temples (Goddess of Sea) in Hong Kong, there are three on Lamma Island alone, located respectively in Sok Kwu Wan, Luk Chau and Yung Shue Wan. The film documents the states of Tin Hau temples on the island and beyond, as an attempt to contextualise the everyday practice of the fishing community, islanders and city dwellers visiting the temples.

Three girls in different situations and stages in life decided to leave Hong Kong for their own reasons and aspirations and try to take root in Taiwan. However, there’s always an unpredictable distance between imagination and reality.