Cinema LIsle-en

The week of Asian cinema in l’Isle en Dodon, a selection of films from the Toulouse festival Made in Asia, ended on a high note on Saturday night, April 25th. The screening of the film The Grand Master by Wong Kar Wa, an operatic epic depicting the legend of a kung fu master from the late 1930s to the 1960s, with a dramatic story of succession, power, and impossible love, set against the backdrop of the Japanese occupation.

To illustrate this superb genre film released in 2013, treated by the Hong Kong director as an ancient tragedy with characters trapped, in breathtaking aesthetics, and striking combat choreographies, accompanied by epic music and razor-sharp direction, using – and perhaps overusing? – Wong’s trademark slow motion. A magnificent cinematic experience for those who had never seen it before and a renewed emotional experience for others.

Following the screening, Anissa Medjebeur, a doctoral student in film studies at the University of Montpellier, specializing in Chinese cinema, brilliantly and eruditely deciphered the intricacies of Hong Kong cinema for the audience.

“Are there differences between Hong Kong cinema and that of mainland China?” the speaker asked. “Indeed, there are disparities and specific characteristics for each,” the expert explained. “Hong Kong cinema emerged in the 20th century, with the first studios in the early fifties. At that time, Maoism was spreading in China while Hong Kong was still a British colony, and the two cinemas developed differently.”

“Today, after the retrocession of Hong Kong to China in 1997, the situation has changed. The two film economies tend to merge in terms of production. However, in terms of stylistic and aesthetic aspects, some contemporary works still exhibit Hong Kong characteristics, noir touches, genre films, martial arts fights.”

“How was the retrocession perceived by artists?” the audience members asked. “Many of them migrated to the United States, Canada, and elsewhere. Those from Wong Kar Wa’s generation all visited the USA. Some, like John Woo, stayed and continued making films with Americans, adapting to the Hollywood industry. Others, like Tsui Ark, returned to China to work. For those who have stayed in Hong Kong, they have had to work with Chinese political censorship for over 30 years now and produce works that meet the requirements of the ruling Communist Party.”

“Are there disparities in production resources between Hong Kong and China?” the question was raised. “Given the period mentioned, the way Hong Kong studios were founded is unique. Chinese refugees in the British colony invested capital in the emerging cinema, some of which came from the Triads, the Chinese mafia. Nowadays, it remains complex. Resources come from international sources, thanks to transnational productions, with France being a major financier of global cinema. Hong Kong cinema is well-known and appreciated by the international film sphere, allowing access to external funding.”

“How are Asian filmmakers trained?” the audience queried. “The new wave that emerged in the late 70s partly formed in the US and Anglo-Saxon countries. This influenced their filmmaking style towards rebellion, experimentation, towards an auteur cinema. Currently, studies are conducted at the Beijing Film Academy.”

An exceptional cinema session to (re)discover this fascinating film, a monstrous, disparate, and poetic masterpiece that leaves an indelible mark on the mind.