With a title like "Memories to Choke on, Drinks to Wash them Down" you would anticipate a Hong Sang-soo-esque reminisce over several soju, showing the good and bad side of alcohol. But the partnership of Leung Ming-kai and Kate Reilly offer something a bit more subtle and less alcoholic in an anthology of four shorts about the nature of memory and how we look to the future.
We start with "Forbidden City" where a young Indonesian carer Mia (Mia Mungil) looks after her elderly charge (Cheok Mei Leong) with dementia at her home. She wants to go out to central Hong Kong, but the younger of the pair is weary and nervous, knowing she shouldn't take her. But, while on a loop bus line, she realizes she can use her dementia against her.
A dialogue-heavy piece - as are all - the script cleverly weaves a palindrome of reveals, as the elderly patient repeats herself. The more Mia learns, the more she realizes she can trick. But not in a malicious way, and indeed, she is happy to relive the memories shared with her again in reverse order as they return home, none-the-wiser that they did little more than get on the bus. A sweet opener, though perhaps the weakest of the four.
We then join two brothers for "Toy Stories" as they look through their mother's toy shop, possibly soon to be sold. Filled with stock, it is an otaku's dream, though some of it has been there for years. The elder of the two (Lam Yiu-sing) remembers all the toys he wished he had as his own, but his mother always reserved the less cool ones to give to him; the others to be sold.
Each item holds a memory for each, with the younger (Zeno Koo) having specially selected some key ones to give to his brother before they are all potentially lost. Here we see the memories attached to possessions, both owned and desired, and how seeing objects for the first time in years can bring back memories. But it also suggests change, with the elder of the pair selecting toys for his children, not wanting the 'violent' toys he had as a child. The younger, however, seems more troubled by the uncertainty of the shop's future, wanting to take it on himself, but unsure if this will be the case.
The ending suggests that physical objects, and their memories, are being left behind, with concerns over screentime, but also that perhaps in the future, without the physical to trigger memories, we may lose parts of ourselves. International references are made throughout, but the influence of Japanese pop culture is strong in this one, with Japanese toy brands and anime referenced throughout. Indeed, a 'tsuzuku' fills the screen at the end.
East meets West in "Yuen Yeung" as English teacher Ruth (Kate Reilly) shares a drink with Economics teacher John (Gregory Wong). The breaktime chat sets off an exchange of meals that form the pair's shared experience of Ruth's brief time in Hong Kong. Through flashback, gradually, John educates Ruth through food as to the local culture, as the will-they-won't-they romance hangs in the air. But it's also a showing of cultural barriers and the difficulty of the host and the guest ever fully integrating. Things that seem novel to the foreigner may hold deep and painful memories for the native.
Throughout, the exchanges are never easy and there are some underlying tensions. These may be due to romantic awkwardness, but also seem to highlight the difficulties and tolerances that are necessary in such a relationship. The chemistry between the pair is good, with Wong acting as a local guide - one who is frustrated by her ignorance, but also disappointed to see her leave.
We switch from fiction to documentary to finish with "It's Not Gonna be Fun" following young council hopeful Jessica Lam as she runs in local elections against the pro-China stronghold. Switching between her delivering speeches on her campaign trail and 'at home' discussions about her life up to now, she is a young woman frustrated by the older generations, but also one perhaps a little unsure as to what she wants from life. Despite making inroads, she loses her campaign, but shows little sadness at the result, never really wanting to take on the role. She talks of her memories, with seemingly some disappointments along the way, and she seems less than enthusiastic about her current job in a bar.
Jessica is a likeable woman with determination, but perhaps unsure as to where to direct it. The uncertainties for the future in Hong Kong have perhaps created, not so much an apathy, but a confused sense of purpose among the young. Though not knowing what tomorrow may bring, Jessica seems to have low expectations, making her able to deal with whatever comes her way.
Each segment takes a different look at the nature of memory, whether dementia, attachment to objects, cultural heritage or personal journeys. But while memory is the starting point, we are always brought to the 'drink' of the future. Indeed, it is difficult for any Hong Kong cinema currently to not display anxiety about the future, and "Memories..." hints at this throughout. Here, we are more comfortable talking about the past than we are looking to the future.
With the first three pieces of fiction one-on-one dialogues, the scripts are tightly written, engaging and intriguing, with a naturalistic flow that many will be able to relate to. Various nods are made to the ever-changing nature of Hong Kong, with various external influences: from immigrant workers; to Japanese pop-culture; to the transient nature of visitors from/visits to the West. The last two segments are largely in English, which seems symbolic for a number of reasons.
Hong Kong can look to the past with memories of numerous cultural changes, and its future shows no chance of that changing.
politic1983.home.blog
We start with "Forbidden City" where a young Indonesian carer Mia (Mia Mungil) looks after her elderly charge (Cheok Mei Leong) with dementia at her home. She wants to go out to central Hong Kong, but the younger of the pair is weary and nervous, knowing she shouldn't take her. But, while on a loop bus line, she realizes she can use her dementia against her.
A dialogue-heavy piece - as are all - the script cleverly weaves a palindrome of reveals, as the elderly patient repeats herself. The more Mia learns, the more she realizes she can trick. But not in a malicious way, and indeed, she is happy to relive the memories shared with her again in reverse order as they return home, none-the-wiser that they did little more than get on the bus. A sweet opener, though perhaps the weakest of the four.
We then join two brothers for "Toy Stories" as they look through their mother's toy shop, possibly soon to be sold. Filled with stock, it is an otaku's dream, though some of it has been there for years. The elder of the two (Lam Yiu-sing) remembers all the toys he wished he had as his own, but his mother always reserved the less cool ones to give to him; the others to be sold.
Each item holds a memory for each, with the younger (Zeno Koo) having specially selected some key ones to give to his brother before they are all potentially lost. Here we see the memories attached to possessions, both owned and desired, and how seeing objects for the first time in years can bring back memories. But it also suggests change, with the elder of the pair selecting toys for his children, not wanting the 'violent' toys he had as a child. The younger, however, seems more troubled by the uncertainty of the shop's future, wanting to take it on himself, but unsure if this will be the case.
The ending suggests that physical objects, and their memories, are being left behind, with concerns over screentime, but also that perhaps in the future, without the physical to trigger memories, we may lose parts of ourselves. International references are made throughout, but the influence of Japanese pop culture is strong in this one, with Japanese toy brands and anime referenced throughout. Indeed, a 'tsuzuku' fills the screen at the end.
East meets West in "Yuen Yeung" as English teacher Ruth (Kate Reilly) shares a drink with Economics teacher John (Gregory Wong). The breaktime chat sets off an exchange of meals that form the pair's shared experience of Ruth's brief time in Hong Kong. Through flashback, gradually, John educates Ruth through food as to the local culture, as the will-they-won't-they romance hangs in the air. But it's also a showing of cultural barriers and the difficulty of the host and the guest ever fully integrating. Things that seem novel to the foreigner may hold deep and painful memories for the native.
Throughout, the exchanges are never easy and there are some underlying tensions. These may be due to romantic awkwardness, but also seem to highlight the difficulties and tolerances that are necessary in such a relationship. The chemistry between the pair is good, with Wong acting as a local guide - one who is frustrated by her ignorance, but also disappointed to see her leave.
We switch from fiction to documentary to finish with "It's Not Gonna be Fun" following young council hopeful Jessica Lam as she runs in local elections against the pro-China stronghold. Switching between her delivering speeches on her campaign trail and 'at home' discussions about her life up to now, she is a young woman frustrated by the older generations, but also one perhaps a little unsure as to what she wants from life. Despite making inroads, she loses her campaign, but shows little sadness at the result, never really wanting to take on the role. She talks of her memories, with seemingly some disappointments along the way, and she seems less than enthusiastic about her current job in a bar.
Jessica is a likeable woman with determination, but perhaps unsure as to where to direct it. The uncertainties for the future in Hong Kong have perhaps created, not so much an apathy, but a confused sense of purpose among the young. Though not knowing what tomorrow may bring, Jessica seems to have low expectations, making her able to deal with whatever comes her way.
Each segment takes a different look at the nature of memory, whether dementia, attachment to objects, cultural heritage or personal journeys. But while memory is the starting point, we are always brought to the 'drink' of the future. Indeed, it is difficult for any Hong Kong cinema currently to not display anxiety about the future, and "Memories..." hints at this throughout. Here, we are more comfortable talking about the past than we are looking to the future.
With the first three pieces of fiction one-on-one dialogues, the scripts are tightly written, engaging and intriguing, with a naturalistic flow that many will be able to relate to. Various nods are made to the ever-changing nature of Hong Kong, with various external influences: from immigrant workers; to Japanese pop-culture; to the transient nature of visitors from/visits to the West. The last two segments are largely in English, which seems symbolic for a number of reasons.
Hong Kong can look to the past with memories of numerous cultural changes, and its future shows no chance of that changing.
politic1983.home.blog
