Autonomous Cinema Nov-Dec Screenings: Contemporary B&W Cinema (12/11, 25/11, 2/12, 9/12/2017)

auto cin_nov & dec

Autonomous Cinema: Nov-Dec Screenings:Contemporary B&W Cinema

Presenters: HKICC Lee Shau Kee School of Creativity, Autonomous Cinema

“Children Are Not Afraid of Death, Children Are Afraid of Ghosts”
Winner NETPAC Award IFFR 2017
China|2017|85 min|B&W, Colour|In Mandarin with Chinese & English subtitles
Director: Rong Guang Rong

Date & Time:
12/11/2017 (Sun), 2:30pm
With Post-Screening talk
Guest: Shu Kei
25/11/2017 (Sat), 2:30pm
With Post-screening talk with the director
Venue: Screening Room, HKICC Lee Shau Kee School of Creativity

Contemporary Local B&W Shorts
Hong Kong│2017│44 min│B&W | In Cantonese with Chinese subtitle
Director: Honkaz Fung
“Even Ants Strive For Survival”
Hong Kong│2017│25 min│B&W│In Cantonese with Chinese and English subtitles
Director: Ren Xia
“I Have Nothing to Say”
Taiwan, Hong Kong│2017│25 min│B&W│In Mandarin with Chinese and English subtitles
Director: Ying Liang

Date & Time:
2/12/2017 (Sat), 6:30pm
With Post-Screening talk
Topic: Talk: Their Mono Lanes: A talk with local actors
Guest: Sofiee Ng
Moderator: Daniel Chan
9/12/2017 (Sat) 2:30pm
With Post-Screening talk
Topic: Talk: The Elusive Truth of Black and White – Dialogues with local filmmakers
Guest speakers: Ying Liang, Honkaz Fung, Zune Kwok, Mike Mak Chi-kwan, Ren Xia
Venue: Screening Room, HKICC Lee Shau Kee School of Creativity

Autonomous pricing: $50
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From 2000s onwards, B&W films have become even rarer in the U.S. and Europe. On the contrary, B&W filmmaking has been prevalent across Asia in recent years. Lav Diaz, a Filipino art-house director, for example, shoots most of his films in B&W. “Mr. No Problem” (2016), “The Summer Is Gone” (2016), “The Great Buddha+” (2017), and “No.1 Chung Ying Street” (2017) are all feature-length films from different Chinese-speaking regions since 2016 as if there were a B&W renaissance in Chinese cinema.

Some of these B&W films may not be of any achievements. This phenomenon, however, is an interesting topic for further discussions. Indeed, want to find out whether this trend is becoming a formal pretense of artistic failures or a genuine contribution to cinema itself.

As such, Autonomous Cinema brings you a group of local shorts that invite us to question the substances and meanings of today’s B&W filmmaking. There will be two talks with local filmmakers who will share their thoughts and experiences of this particular stylistic choice. We also screen Chines artists-director’s powerful documentary, “Children Are Not Afraid of Death, Children Are Afraid of Ghosts”, that investigates a group suicide of four siblings in a rural area in China. While shot most in colour, the film’s B&W footage successfully creates a staggering affect towards our horror from within.


“Children Are Not Afraid of Death, Children Are Afraid of Ghosts”
A personal, impressive emotional documentary in which the director investigates a group suicide by children in a village in the mountains of Guizhou. His journey confronts him with his fears and memories, but also with the surviving children, government officials and organised crime. Four brothers and sisters, aged five to fourteen, collectively commit suicide by drinking pesticide: what could drive children to such an act of desperation? In 2015, shortly after this horrific event, documentary maker and artist Rong Guang Rong travelled to the village. He was not made to feel welcome, however: he was arrested, intimidated and his footage seized.

Adapted from local comic artist Li Chi Tak’s “Dino”, this short entails an intriguing story between a teenager, Shang, and a dragon he imagines. However, this imaginary tale in turn recognises a realistic rite of passage of our protagonist. The film is also a RTHK commissioned project.

“Even Ants Strive For Survival”
As a Kafkaesque political satire, the film dramatizes whether or not Ma Yi rebels against the authority. With black-and-white cinematography and 4:3 aspect-ratio, the director Ren Xia successfully creates a futuristic realm of absurdity.

“I Have Nothing to Say”
After an appalling political interrogation, Yang Shu and her daughter have to join a tour group in order to meet in person in the unfamiliar Taiwan. “ I Have Nothing To Say” is a promising portrait of a Chinese mother’s endurance.

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