Issuu

PROJECT BOOK 電影計劃

Contents Chairman’s Message 主席獻詞

Foreword 序言

Asian Film Awards Academy 亞洲電影大獎學院

International Film Camp (IFC) 國際電影創作營

Project Mentors 電影計劃導師

Guest Moderators 嘉賓主持

Guest Speakers 嘉賓講者

A Drink On Me 請你喝杯酒

Lenti LIANG 梁雯婷｜Chinese Mainland 中國內地

After-Sales Service for Violence 暴力售後

ZHANG Ziwei 張紫微｜Chinese Mainland 中國內地

Folding Mainland 內陸折疊

QU Zhizheng 瞿之正｜Chinese Mainland 中國內地

Giri 岳

WONG Ka Ki 黃嘉祺｜Hong Kong 香港

Good Morning 早上好

Niko HO 何卓斌｜Macao 澳門

Graftlings 접목자들

Imitation 我不認識的她

Ashlan KIM｜South Korea 南韓

Erica KWOK 郭頌儀｜Hong Kong 香港

Red Candy

Bavaneedha LOGANATHAN ｜Sri Lanka 斯里蘭卡

The Way Home 爸爸在哪裡

Christine SEOW 蕭韻心｜Singapore 新加坡

Tower 鐵塔

CHAN Chon Sin 陳俊先｜Macao 澳門

Under a Burning Sun 燃燒太陽

BO Hanxiong 薄漢雄｜Chinese Mainland 中國內地

Unproven 未明

LAW Yik Man 羅亦敏｜Hong Kong 香港

We Came Back to Strangers, Dad Pomposh

Ilimbek MAKSATBEKOV｜Kyrgyzstan 吉爾吉斯

What Remains of the Ordinary উত্তরাায়ণ

Where the Sorrow Overflows 屋泣

Shubha Kumar PAUL｜Bangladesh 孟加拉

Nadia CHUI 徐儷恩｜Hong Kong 香港

Yesimde Есiмде

Ainamkoz YEMZHAROVA｜Kazakhstan 哈薩克

Chairman 's Message Dr. Wilfred WONG 王英偉博士

Chairman, Asian Film Awards Academy 亞洲電影大獎學院主席

Now entering our third year, the Asian Film Awards Academy’ s International Film Camp (IFC) has been welcomed as a valuable addition to the regional and global support structure for Asian cinema.

cinemas of our region. It has always been a founding principle of IFC that we not only discuss and develop creative projects but also help to finance and produce them.

In this spirit, our IFC aims to encourage the Asian filmmakers of the future, not only through talks and panels, but also through the financing and production support of short films that can announce new voices, new approaches to the

I wish you all an enriching and memorable International Film Camp 2026!

An important part of this endeavor is our comprehensive approach to the development of Asian film. In March 2027 we will celebrate 20 years of the Asian Film Awards which recognizes excellence in Asian cinema. Our advocacy leads us to look ahead, not just to the annual awards, but also in the long term, to the years ahead and the generations of filmmakers who will take Asian cinema to global heights.

I extend my sincere gratitude to the Culture, Sports and Tourism Bureau of the Government of the Hong Kong Special Administrative Region for its guidance, and to the Cultural and Creative Industries Development Agency and the Film Development Fund for their continued support. I also thank the Cultural Affairs Bureau of the Macao Special Administrative Region Government for its strong commitment, and Sands China for its generous sponsorship. IFC has grown through this close co-operation between the public, cultural and private sectors.

主席獻辭踏入第三年，亞洲電影大獎學院的國際電影創作營（International Film Camp, IFC）已

作支援，讓新的創作聲音和手法得以呈現，為亞洲電影帶來更多可能。自創辦以來，國際

逐漸獲得亞洲以至國際電影業界的認同，電影創作營一直堅持一個重要原則：我們成為支持亞洲電影及新一代電影創作者的重要項目之一。

我們一直以多方面的工作推動亞洲電影

不只討論創意和協助項目發展，更提供實

際的資金及製作支援，讓創作最終能夠成為作品。

發展，而國際電影創作營正是其中重要的

我衷心感謝香港特別行政區政府文化體育

大獎20周年。二十年來，大獎一直表揚亞洲

發展處和電影發展基金一直以來的支持。同

一環。2 0 2 7 年 3 月，我們將迎來亞洲電影電影的優秀成就，而我們的工作並不止於每年一度的頒獎典禮，更希望放眼未來，支持

一代又一代電影工作者，讓亞洲電影在國際舞台上繼續發展。

抱着這個理念，國際電影創作營希望鼓勵亞

洲新一代電影創作者。除了透過講座和論壇交流經驗，我們亦為短片創作提供資金及製

及旅遊局對創作營的指導，以及文創產業

時，感謝澳門特別行政區政府文化局的積極

支持，以及金沙中國的慷慨贊助。國際電影創作營得以持續成長，有賴政府、文化及商界攜手合作。

祝願各位在2026國際電影創作營有所啟發、滿載而歸，並留下難忘的回憶！

Foreword Drew LAI 黎細明

Commissioner for Cultural and Creative Industries Development Agency

文創產業專員

Dear Friends

Warmest congratulations to the Asian Film Awards Academy on the launch of the third edition of the International Film Camp (IFC). IFC has established itself as an inspiring platform for aspiring young filmmakers, broadening their exposure and outreach through cultural exchange, while furthering the development of the film industry. During the upcoming five days, film industry leaders and emerging talents from Hong Kong, Macao, Chinese Mainland will join the IFC teams from South Korea, Singapore, Kazakhstan, Bangladesh, Sri Lanka and Kyrgyzstan on a memorable journey. Together, they will be immersed in sharing insights into the creative, collaborative and commercial aspects of film production. The shortlisted teams will have the chance to further hone their story-telling talents and skills

under the guidance of prestigious and knowledgeable mentors.

The Government of the Hong Kong Special Administrative Region shares the commitment to nurturing talent in the film industry and supporting sustained industry growth. Through the Film Development Fund administered by the Cultural and Creative Industries Development Agency, our various funding schemes enhance quality film productions, cultivate film talent, expand overseas markets, and promote Hong Kong as the East-meets-West centre for international arts and cultural exchanges. My heartfelt appreciation to the Asian Film Awards Academy for organising the IFC and best wishes to all participating teams for a memorable and impactful Camp experience.

序言各位朋友

祝賀第三屆國際電影創作營正式展開。

國際電影創作營已成為一個啟發青年電影

香港特別行政區政府同樣致力於培育電影業

人才和支持行業的持續增長。透過文創產業

發展處管理的電影發展基金，我們的各項資新秀的平台，透過文化交流拓闊他們的視野，助計劃旨在提升優質電影製作、培育電影同時推動電影業的進一步發展。人才、拓展海外市場，並促進香港發展成為在接下來的五天裡，來自香港、澳門、中國內地的電影業領袖和新晉人才，將與來自

南韓、新加坡、哈薩克、孟加拉、斯里蘭卡及

吉爾吉斯斯坦的創作營團隊共同展開一段

難忘的旅程。他們將聚首一堂，全情投入分享

中外文化藝術交流中心。

我衷心感謝亞洲電影大獎學院舉辦國際電影創作營，並祝願所有參賽團隊收穫豐碩。

關於電影製作在創意、協作及商業方面的見解。在業界出色前輩的指導下，入圍團隊

將有機會進一步展現和提升他們的故事創作才華與技巧。

Foreword Grant CHUM 鄭君諾

Chief Executive Officer and

序言

Executive Director of Sands China Ltd.

金沙中國有限公司行政總裁兼執行董事

Film possesses a unique magic. Beyond transporting us into worlds that captivate the heart, it transcends the boundaries of memory, making an unfamiliar city feel curiously familiar, and inviting us to rediscover familiar landscapes with fresh eyes. In the interplay of light and shadow, it quietly sparks resonance, fosters mutual understanding, and opens new possibilities for how a city may be seen, experienced and imagined.

This is the spirit that lies behind Sands China’ s support for the International Film Camp for the third consecutive year. We firmly believe that the long-term growth of a company and the creative vitality of a city are deeply intertwined. To support filmmaking is to invest in the growth of talent, and to sow the seeds for the future of Macao’ s cultural and creative industries. The creative pulse of a city is shaped as much by the talent it nurtures as by the imagination it inspires. As Macao continues to advance its economic diversification, nurturing a new generation of filmmakers from across Asia helps generate fresh ideas and unlock new possibilities for the future of the city’ s cultural and creative industries.

This year’ s theme,“When Strangers Meet” , echoes cinema’ s evocative ability to transform the unfamiliarity into resonance, bringing people and cultures closer through the power of storytelling. Each year, we bring together emerging creative talents from across Asia in Macao, where they engage with internationally acclaimed filmmakers and draw inspiration from their artistic journeys and professional experience. These invaluable exchanges strengthen creative foundations and broaden international horizons. Equally important, through their personal encounters with the city, participants gain a deeper appreciation of Macao’ s rich cultural heritage and diverse human stories. In turn, their unique perspectives help draw the attention of the wider Asian film community to Macao, revealing anew the city’ s distinctive character and enduring charm. Through the lens of cinema, we hope to share with the world Macao’ s unique fusion of Chinese and Western cultures, establishing the city as a fertile ground for creative inspiration, a destination of choice for travellers, and a compelling hub for film production and storytelling.

Sands China remains steadfast in its commitment to nurturing film talent through meaningful and sustained support, enabling the Camp to serve as an important platform for emerging Asian filmmakers on their journey towards the international stage. We hope this journey of learning and discovery in Macao will kindle sparks of inspiration that illuminate the creative paths ahead of these emerging filmmakers. May this experience mark the stepping stone that leads them towards the global stage.

We would like to express our heartfelt gratitude to the Culture, Sports and Tourism Bureau of the Hong Kong SAR Government and the Cultural Affairs Bureau of the Macao SAR Government for their guidance; to the Asian Film Awards Academy for its partnership; and to the Cultural and Creative Industries Development Agency, the Film Development Fund and Shaw Studios for their generous support in making this year’ s Camp possible. Looking ahead, Sands China will continue to champion film as a bridge connecting the city, its culture and talent. Together with various sectors in society, we endeavour to carry Macao’ s stories to the world stage, further propelling its continued diversification and position as a World Centre of Tourism and Leisure.

電影引領觀眾走入扣人心弦的世界，更跨越記憶疆界，讓陌生城市變得親切，讓熟悉風

景換上新視角。光影流轉間，悄然喚起共鳴，促進彼此理解，也為城市開啟更多想像。

這正是金沙中國連續第三年支持「國際電影創作營」的初心。我們深信，企業的長遠發展與城市的創意命脈相輔相成；支持電影創

作，就是投資於人才的成長，也是為澳門文化創意產業播下未來的種子。城市的創

意生命，始於人才，亦生於想像。隨着澳門持續推進經濟適度多元發展，培育亞洲新一代電影創作者，正是為本澳文創產業積

蓄新啟發與可能。今年創作營以「陌路相逢」為主題，更體現電影化陌生為共鳴、讓人與文化彼此相遇的獨特力量。

每年，我們匯聚亞洲新銳創作者於澳門，與國際影視大師交流，汲取創作經驗與養分。這份難得的交流機會，讓影壇新秀扎實根基、拓展國際視野，更藉由他們對城市的親身洞察，推動亞洲電影界目光投向澳門，重新發掘這座城市深厚多元的人文魅力，並透過電影視角向世界展現澳門中西文化交融的獨特風貌，成為激發創作靈感的沃土，以及備受青睞的旅遊目的地和影視創作基地。

金沙中國將一如既往，以實際行動支持電影人才的培育，讓創作營成為亞洲新銳走向國際的重要平台。期待這趟澳門學習之旅，讓

各位亞洲電影新秀將在澳門所見所感，化作創作新見，並成為日後邁向國際舞台的重要起點。

謹此衷心感謝香港特別行政區政府文化體育及旅遊局和澳門特別行政區政府文化局的指導，亞洲電影大獎學院的共同推動，以及文創產業發展處、電影發展基金與邵氏影城對活動的支持，促成本屆創作營圓滿舉辦。

未來，金沙中國將持續推動電影成為連結

澳門城市、文化、人才的橋樑，與各方攜手

說好澳門故事，為澳門多元發展、世界旅遊休閒中心建設貢獻力量。

Foreword Josie LIN 連佩蔙

Executive Director, Asian Film Awards Academy & International Film Camp 亞洲電影大獎學院及國際電影創作營執行總監

It is my great pleasure to welcome you to the upcoming International Film Camp, a gathering that brings together emerging talents, industry professionals, and creative voices from across the Asia. More than simply a programme, this camp is a space for exchange, discovery, and growth — a place where ideas can take shape, creative voices can be strengthened, and new connections can begin.

This year, we were truly encouraged to receive more than 450 applications, a remarkable response that speaks to the strong enthusiasm and trust in the programme. The quality and diversity of the submissions made the selection process especially thoughtful and demanding. I would like to express my sincere appreciation to our team, who devoted many hours to carefully reading, analysing, and discussing each project proposal. Their work went beyond assessing the stories alone; they considered the style, vision, artistic

voice, individual qualities, and long-term potential of each candidate with great care and respect.

Film has the power to move us, connect us, and open new ways of seeing the world. Through this camp, we hope to create a space where participants can learn from one another, deepen their craft, and form meaningful connections that will continue well beyond the programme. We believe this experience will bring fresh inspiration, new perspectives, and the confidence to pursue each storyteller’s unique creative journey. I thank our selection panel, mentors, judges and partners, as well as our colleagues who have worked hard to realize this year’ s camp. Their patience and close attention have shaped every stage of IFC03.

I wish all participants a truly rewarding and inspiring experience, and I look forward to the remarkable journeys that begin here.

序言我非常高興歡迎大家參與即將舉行的國際

我衷心感謝我們的遴選委員會、導師、評審

專業人士與創意聲音的交流平台。這不僅僅

電影營順利舉行的同事們。他們的耐心與細緻

電影營，這是一個匯聚亞洲新銳人才、業界

是一個項目，更是一個讓想法萌芽、創意得以深化、並建立新連結的空間。

今年，我們收到超過450份申請，這份熱烈反

應令人深受鼓舞，也充分展現大家對這個計

及合作夥伴，以及一直努力不懈、促成今年投入，貫穿並成就了 IFC03 的每一個階段。

祝願所有參加者收穫豐盛、滿載啟發，並期待見證在這裡展開的每一段精彩創作旅程。

劃的熱情與信任。如此踴躍的申請，令遴選過程較以往更為審慎而艱鉅。我衷心感謝我們的團隊，他們投入了大量時間，細心閱讀、分析

及討論每一份企劃提案；他們不單看重故事

本身，更從創作風格、藝術視野、個人特質，以及未來潛力等多方面作出全面考量。

電影擁有觸動人心、連結彼此、啟發思考的

力量。透過這個電影營，我們希望為參加者營造一個可以彼此學習、深化創作、建立有意義聯繫的空間，並讓這些交流延續至計劃

結束之後。我們相信，這段經歷將為大家帶來嶄新的靈感、不同的視角，以及繼續追尋個人創作旅程的信心。

Asian Film Awards Academy www.afa-academy.com

The Asian Film Awards Academy (AFAA) is a non-profit organisation

founded by the Busan, Hong Kong and Tokyo International Film Festivals with the shared goal of celebrating excellence in Asian cinema. The Academy is dedicated to promoting and recognising Asian films and film

talents. Through the annual Asian Film Awards and various year-round programmes, it supports industry development and promotes Asian film culture worldwide.

The Asian Film Awards was inaugurated in 2007. AFAA members are

drawn from past nominees and winners of the Awards. Award categories

include Best Film, Best Director, Best Actor and Best Actress. Members vote for the Asian Film Awards and participate in various AFAA activities held across Asia and around the world.

AFAA’s year-round programmes include the Masterclass Series,

Journey to the Fest, Asian Cinerama and International Film Camp.

These initiatives aim to bring Asian cinema to wider audiences, expand

the Asian film market, and build and sustain connections between Hong Kong and international film professionals. These programmes are

made possible with the support of the Cultural and Creative Industries Development Agency and the Film Development Fund. With the support

of film festivals and cultural organisations, AFAA promotes Asian cinema and culture among film professionals, students and audiences in Asia

and beyond, sharing knowledge and fostering a deeper understanding of Asian cinema.

亞洲電影大獎學院 (學院) 是由釜山、香港及東京國際電影節共同創立的非牟利機構，旨在對國際展現優秀的亞洲電影作品。學院致力於推廣和表彰亞洲電影及業內人才，每年均會舉辦亞洲電影大獎及多項活動，以加強業界發展，並向世界各地宣揚亞洲電影文化。亞洲電影大獎自2007起舉辦，學院的成員來自大獎歷屆的提名人和得獎者。獎項包括最佳電影、最佳導演、最佳男、女主角等。成員能在每屆亞洲電影大獎中，投票選出各個獎項，亦會參與學院在亞洲及全球舉辦的各類活動。學院的年度活動包括大師班系列、學生電影節觀摩團、亞洲電影巡回放映，以及國際電影創作營，目標旨在向更多觀眾推動亞洲電影、擴大亞洲電影市場，並讓香港與國際電影工作者建立及維繫關係。這一系列活動能順利舉辦有賴文創產業發展處及電影發展基金贊助。在多個電影節及文化協會的大力支持下，學院向亞洲及世界各地的電影工作者、學生及觀眾推廣亞洲電影工業及文化，傳播相關知識，令公眾對亞洲電影有更深入的認識。

亞洲電影大獎學院

International Film Camp (IFC) International Film Camp (IFC), a groundbreaking initiative aims to nurture and empower the next generation of Asian filmmakers. With patronages of Culture, Sports and Tourism Bureau of The Government of the Hong Kong Special Administrative Region and Instituto Cultural of Macau, and sponsored by Cultural and Creative Industries Development Agency, Film Development Fund and Sands China Ltd., the IFC provides a unique platform for emerging filmmakers to interact with industry professionals, gain valuable insights into the creative and commercial aspects of cinema, and receive production funding and exhibition opportunities through the Asian Film Awards Academy. Taking place from 18 to 22 September 2026, at the integrated resorts operated by Sands China, the IFC promises to be a transformative experience for aspiring filmmakers. Open to talented individuals aged 21 to 40 from Hong Kong, Macao, Greater China, and the wider Asian region, the camp offers a comprehensive curriculum designed to enhance their skills and knowledge.

Applicants submitted proposals for a short narrative fiction film centered around the theme of “When Strangers Meet” , which comprise a treatment, director’ s statement, and production plan, along with a five-minute sample reel of work or works directed by the applicant. This year’s call for entries received an overwhelming response, and with the outstanding quality of submissions, bringing the final selection to 16 filmmakers.

Dur i n g t he Cam p, fil m i n d ust r y professionals as mentors will share their valuable experiences with the participants. Additionally, participants will have the opportunity to engage in panel discussions and masterclasses covering various aspects of the industry, such as directing, scriptwriting, editing, producing, funding, distribution, and more. This will provide valuable insights and knowledge to enhance their understanding of the film industry. At the end of the camp, the 16 filmmakers will pitch their short film projects to a panel which will then award 8 filmmakers a production grant of HK$300,000 (approx. US$38,000) each to make their short film. To promote the works of the emerging filmmakers and enable their projects to reach a wider audience. The Asian Film Awards Academy will curate featurelength anthologies of the short films produced during the IFC and, showcase them in its prestigious Asian Cinerama annual touring programme. Additionally, the Asian Film Awards Academy will be ready to assist filmmakers in submitting their individual short films to relevant film festivals, amplifying their reach and exposure within the industry.

國際電影創作營（創作營）旨在培養

創作營舉行期間，學院邀請多位資深導演、

新一代亞洲電影人，讓他們充分發揮

編劇、監製擔任導師，為參加者提供個別

潛能。創作營獲香港特別行政區政府

指導，並分享有關電影製作的專業知識。

文化體育及旅遊局和澳門特別行政區

參加者在創作的過程中可以互相交流，亦

政府文化局擔任指導單位，由文創產

能獲得適時的引導和支援。

業發展處、電影發展基金及金沙中國有限公司贊助，為電影業新秀提供一

創作營結束前，16位參加者向評審團作

個獨特的平台，供他們與業界專業人

提案簡報，講述短片的內容特色。評審

士交流，在電影的創意與商業範疇，

團從中選出8個創投項目，並授予得獎

獲得寶貴的意見，同時透過亞洲電影

者資金贊助各港幣30萬元（約38,000

大獎學院獲得製作費資助及海外放映

美元），用以拍攝一部以「陌路相逢」

的機會。

（When Strangers Meet）為主題的短片。為了讓更多觀眾有機會欣賞電影新秀的作

創作營於2026年9月18日至22日於金

品，亞洲電影大獎學院會將獲得資金製

沙中國旗下的綜合度假村舉行，為有志

作的作品結集成短片集，於學院每年

投身電影業的年輕人帶來截然不同的體

舉辦的亞洲電影巡迴放映節目內播放。

驗。創作營歡迎21至40歲，來自香港、

此外，學院亦會協助得獎者報名參加電影

澳門、大中華地區以及亞洲各地，在電影

節，藉此增加他們在國際影壇的曝光率

創作方面有熱誠的人士參加。申請人提交

和發展機會。

一份以「陌路相逢」為主題的故事短片提案，包括劇本大綱、導演自述及製作計劃，連同一段五分鐘或以下的提案示範影片或過往作品選輯。初步遴選後，由

國際電影創作營

業內電影人組成的評審團與約30位入圍者進行網上面試，最後選出16位參加者。

International Film Camp

Date: 18 to 22 September 2026 Location: Integrated resorts operated by Sands China Website: https://www.afa-academy.com/round/international-film-camp/ Email: ifc@afa-academy.com

國際電影創作營日期： 2026年9月18日至22日地點：金沙中國旗下的綜合度假村網址： https://www.afa-academy.com/zh/round/ifc_03_tc/ 電郵： ifc@afa-academy.com

Welcome Roger GARCIA 高思雅

Director, International Film Camp 國際電影創作營總監

Welcome to this third edition of the Asian Film Awards Academy’s International Film Camp and congratulations to all of you for being selected to one of Asia’s most highly regarded and pioneering film workshops! The Film Camp aims to encourage and inspire young Asian filmmakers in the next steps of their careers. We hope that mentorship, panel discussions, masterclasses and conversations with experienced film industry and cultural figures will help further your creativity, develop your projects and understand better your chosen profession.

The film industry does not stand still and is constantly evolving, perhaps more so now than in the past few years. The 21st century filmmakers’ toolkit and career paths are in flux. Youtube filmmakers have conquered the box office, microdramas are watched by more audiences than movies, artificial intelligence offers an accessible and affordable form of expression to filmmakers wherever they are. We cannot afford to ignore these developments both in technology and audiences.

Yet the fundamentals of our art form remain the same – the filmmakers who succeed bring original visions, different voices, unseen stories to the screen. It is the passion with which the artist expresses themselves that distinguishes the work, no matter the means.

This year’s project theme is“When Strangers Meet” . Actually, it is also the sub-text for another core value of our industry: the importance of relationships. We hope that the Film Camp will help you develop and expand your network, especially with your fellow filmmakers who are attending from all over Asia. You will all be meeting each other for the first time. The exchange of different experiences and perspectives among you will be an invaluable takeaway long after the Camp is over. You will meet as strangers but I hope you will part as friends!

歡迎辭歡迎各位來到第三屆亞洲電影大獎學院國際

核心價值：人與人之間的關係。我們希望大家

具開創性並備受重視的電影創作營！

電影工作者。大家初次相遇，彼此交流不同

電影創作營，也恭喜大家獲選參加這個亞洲國際電影創作營旨在鼓勵和啟發亞洲年輕

電影工作者，為事業的下一步做好準備。我們希望透過導師指導、論壇、大師班，以及與資深

電影及文化界人士交流，啟發創意、發展項目，

在創作營拓展人脈，認識來自亞洲各地的的經驗和觀點，這份收穫在創作營結束後仍會延續。大家因陌生而相遇，希望離開時已成為工作上的夥伴和生活中的朋友！

並加深大家對電影專業的了解。

電影業從不停步，近年的變化尤其迅速。 21世紀電影工作者的創作工具和發展路向都在改變：YouTube創作者進軍大銀幕

並取得票房佳績；微短劇的觀眾甚至超越電影；人工智能亦讓各地電影工作者以更便捷和相宜的方式創作。科技和觀眾都在轉變，我們不能忽視。

然而，電影藝術的根本不變——成功的電影工作者以獨特視野、不同聲音和未被發掘的

故事打動觀眾。無論採用甚麼方式，創作者的熱情才是作品與別不同之處。

今年的創作主題是「陌路相逢」（W h e n

Strangers Meet），同時也呼應電影業另一個

Mentors Anthony CHEN 陳哲藝 Mentor 導師

Anthony CHEN is an award-winning Singaporean writer, director and producer. His Or at the Cannes Film Festival and four Golden debut feature Ilo Ilo won the Caméra d’ Horse Awards. His subsequent films include Wet Season, Drift and The Breaking Ice, which premiered at major international film festivals. His latest film, We are All Strangers, became the first Singaporean film selected for the main competition of the Berlin International Film Festival.

陳哲藝是新加坡編劇、導演及監製。首部長片《爸媽不在家》榮獲康城影展金攝影機獎及四項金馬獎。其後作品包括《熱帶雨》、《漂流人生》及《燃冬》，均於重要國際電影節亮相。最新作品《我們不是陌生人》更成為首部入選柏林國際電影節主競賽單元的新加坡電影。

CHEN Daming 陳大明 Mentor 導師

CHEN Daming is a Chinese writer and director. His works include Manhole, One Foot Off the Ground and What Women Want, starring Andy Lau and Gong Li. His recent works include the China–Canada co-production Unspoken and Moscow Mission, which he wrote. A graduate of the Beijing Film Academy, he previously served as Artistic Director of the Shanghai Vancouver Film School and currently mentors PhD students at the Shanghai Film Academy.

陳大明是中國編劇及導演，畢業於北京電影學院。其作品包括《井蓋兒》、《雞犬不寧》及由劉德華、鞏俐主演的《我知女人心》，近年作品包括中加合拍片《以父親之名》，並擔任《莫斯科行動》編劇。他曾任上海溫哥華電影學院藝術總監，現任上海電影學院博士生導師。

Roger GARCIA 高思雅

IFC Director | Mentor IFC總監 | 導師

Roger GARCIA is a film festival executive, producer and writer. He has served as Executive Director of the Hong Kong International Film Festival and Artistic Director of the Hainan Island International Film Festival, as well as curator, consultant and juror for numerous international film festivals. He has produced films and television across Asia, Europe and Hollywood, and was awarded Chevalier des Arts et Lettres by the French government in 2018.

高思雅是電影節總監、製片人及作家，曾任香港國際電影節總監及海南島國際電影節藝術總監，並擔任多個國際影展的策展人、顧問及評審。他亦曾於亞洲、歐洲及荷里活參與電影及電視製作，並於2018年獲法國政府頒授藝術與文學騎士勳章。

Heiward MAK 麥曦茵 Mentor 導師

Heiward MAK is a Hong Kong director and screenwriter. At the young age of 23, she directed her first feature film, High Noon, which was nominated for the Best New Director award at the Hong Kong Film Awards in 2008. She won the Best Screenplay award at the Hong Kong Film Awards for Love in a Puff, and her recent work as a director and screenwriter, Fagara, received 11 nominations, including Best Director and Best Screenplay. As the editor of Drifting, she was nominated for Best Editing at the Golden Horse Awards. 香港導演及編劇，首部電影《烈日當空》提名金像獎新晉導演，《志明與春嬌》獲金像獎最佳編劇；編導作品《花椒之味》獲最佳導演、編劇等十一項提名，並為《濁水漂流》任剪接獲金馬獎最佳剪輯提名。

TENG Lee Yein 鄧麗盈

Production Mentor 製作導師

TENG Lee Yein is a media executive and producer with over three decades of experience in Asia’s entertainment industry. She has held senior positions at Astro and other regional media companies, with expertise spanning content development, international coproductions and distribution. She previously served as Director of International Film Camp 2024 and Programming Director of the Hainan Island International Film Festival, and has served as a juror and advisor for major Asian film festivals and industry platforms.

鄧麗盈是擁有逾三十年亞洲影視業經驗的資深傳媒高管及監製，曾於Astro等區內媒體公司擔任高級管理職位，專長涵蓋內容開發、國際合拍及發行。她曾任2024國際電影創作營總監及海南島國際電影節節目總監，並曾擔任多個亞洲電影節及業界平台的評審及顧問。

Guest Moderators Sunny CHAN 陳詠燊

Guest Moderator 嘉賓主持

Sunny CHAN is a Hong Kong film director and screenwriter. He has written over twenty feature film scripts, including the Love Undercover series. His directorial debut Men on the Dragon received 11 Hong Kong Film Awards nominations, including Best Director and Best Screenplay. His second feature, Table for Six, grossed over HK$77 million in Hong Kong and received another 11 Hong Kong Film Awards nominations. 陳詠燊是香港電影導演兼編劇，曾參與超過二十部電影劇本創作，包括《新紮師妹》系列。首部自編自導長片《逆流大叔》獲香港電影金像獎最佳導演、最佳編劇等11項提名；第二部長片《飯戲攻心》香港票房突破7,700萬港元，並再獲香港電影金像獎11項提名。

Kevin MA 馬樂民

Guest Moderator 嘉賓主持

Kevin MA is the Hong Kong consultant for the Far East Film Festival in Udine and a parttime lecturer at Hong Kong Baptist University. He also works as a translator, copywriter and English editor with film companies and organisations in the region. Previously, he was the Greater China Correspondent of Film Business Asia and entertainment editor of Cathay Pacific’s Discovery magazine.

馬樂民現為意大利烏甸尼遠東電影節香港顧問及香港浸會大學兼職講師，並從事翻譯、文案撰寫及英文編輯工作，曾與區內多家電影公司及電影機構合作。他過去曾任《Film Business Asia》大中華區記者及國泰航空《Discovery》雜誌娛樂版編輯。

Rita WONG 黃若瑩

Guest Moderator 嘉賓主持

Based in Macao, Rita WONG specializes in arts administration, film curation and marketing. She previously served as Manager of Programming and Marketing (Film Group) at the Macao Cultural Centre and Director of Cinematheque‧Passion. Over the years, she has collaborated with talents from diverse fields and perspectives to curate distinctive film festivals and filmrelated programmes, contributing to the development of local film culture. 黃若瑩，澳門人，從事藝術行政、電影策展及市場推廣。曾任澳門文化中心節目及推廣（影像組）經理及戀愛．電影館總監。多年來與不同領域及視野的人才合作，策劃多個別具特色的影展及電影活動，致力拓展本地觀影文化。

Featured Speakers Fala CHEN is an actress, director and writer who began her career in Hong Kong television and film. She stars alongside Colin FARRELL and Tilda SWINTON in Edward BERGER’s Netflix film Ballad of a Small Player, which premiered at the Telluride Film Festival before screening at the Toronto International Film Festival (TIFF). CHEN also wrote and directed the short film Bloodline, which had its world premiere at TIFF. Her other acting credits include Legendary’s Godzilla x Kong: The New Empire, HBO/A24’s Irma Vep, Marvel’s Shang-Chi and the Legend of the Ten Rings, and HBO’s The Undoing. A graduate of The Juilliard School’s MFA programme, CHEN is a multilingual actor and filmmaker with an international career.

陳法拉是演員、導演及編劇，早年活躍於香

港影視界。近年與哥連費路及蒂達史雲頓共同主演愛德華伯格執導的Netflix電影《小人

物之歌》，於特柳賴德電影節首映後在多倫

多國際電影節放映。其他主要作品包括傳奇影業《哥斯拉大戰金剛2：帝國崛起》、HBO/ A24《迷離劫》、漫威《尚氣與十環傳奇》及

HBO《無所作為》。她亦自編自導短片《血

脈》，於多倫多國際電影節舉行世界首映。她

取得茱莉亞學院藝術碩士學位，是精通多國語言、活躍國際影壇的演員兼電影人。

Fala CHEN 陳法拉

Featured Speaker 特邀講者

LAM Ka Tung 林家棟

Featured Speaker 特邀講者

LAM Ka-Tung is an actor, producer and scriptwriter. In 2010, Lam made his debut as a film producer with Gallants, which went on to win several prestigious awards. His acting career reached a new peak in 2017 when his role in Trivisa earned him the Best Actor title at the HKFA, the HKFDG, and the HKFCS. While producing the 2021 film Time, LAM further challenged himself by making his debut as a scriptwriter and lyricist. The film was featured in multiple international film festivals and earned several awards in the Hong Kong film industry. LAM was appointed by the Government of the HKSAR as a member of FDC, where he leads industry talent training programmes. His works include Trivisa, Rob N Roll, Dust to Dust, Mad Fate, Limbo, Hand Rolled Cigarette. 林家棟是演員、監製及編劇。2010年首度擔任

電影《打擂台》監製，即榮獲香港電影金像獎最佳電影等殊榮。2017年憑《樹大招風》摘下

香港電影金像獎、香港電影評論學會及香港

電影導演會三大最佳男演員獎項。2021年，其監製及首次擔任編劇的《殺出個黃昏》在

香港電影圈獲多個獎項，並入選多個國際電影節。近年獲香港特別行政區政府委任為電影

發展局委員，致力人才培訓。代表作品包括

《樹大招風》、《臨時劫案》、《第八個嫌疑人》、《命案》、《智齒》、《手捲煙》等。

Guest Speakers

Sabrina BARACETTI

Thomas BERTACCHE

Guest Speaker

Sabrina BARACETTI is a founding member and president of Udine Far East Film Festival and president of cultural organisation and arthouse exhibition company Centro Espressioni Cinematografiche, head of acquisitions of the distribution company Tucker Film, co-founder and consultant for Ties That Bind and member of the Board of Directors at Friuli Cinematheque. She served as a jury member on various film festivals dedicated to Asian Cinema.

Thomas BERTACCHE is CEO of Italian distribution company Tucker Film and a founding member of the Udine Far East Film Festival. He has been a film programmer at arthouse exhibition company C.E.C. since the early 1990s and is also co-founder and consultant for Ties That Bind. Through Tucker Film, he has been actively involved in independent production and the distribution of Asian cinema in Italy.

電影節的創辦人兼主席、文化機構Centro

Tucker Film 行政總裁及烏甸尼遠東電影節

薩畢蓮娜．芭勒察蒂嘉賓講者

薩畢蓮娜．芭勒察蒂是意大利烏甸尼遠東 Espressioni Cinematografiche (C.E.C.)主席、發行公司TuckerFilm的採購部主管、TiesThatBind聯合創辦人兼顧問，以及Friuli Cinematheque董事會成員。她為多個專注亞洲電影的電影節擔任評審。

嘉賓講者

Thomas BERTACCHE 是意大利發行公司創辦成員。自1990年代初起，他一直擔任藝

術電影放映機構 C.E.C. 的電影策展人，亦是 Ties That Bind 聯合創辦人兼顧問。透過 Tucker Film，他積極參與獨立電影製作及亞洲電影在意大利的發行。

Anselm CHAN 陳茂賢

CHAN Kin Long

陳健朗

Guest Speaker

Anselm CHAN is a Hong Kong film producer, director and screenwriter, and Vice Chairman of the Hong Kong Film Awards. His directing credits include Ready o/r Rot, Ready o/r Rot 2 and The Last Dance. The Last s highestDance became Hong Kong’ grossing Chinese-language film and won Best Screenplay at the Hong Kong Film Awards and Golden Rooster Awards. Chan also won Best Director at the Asia-Pacific Film Festival.

CHAN Kin Long is a Hong Kong director and actor. His performance in the short film I Can’ t Live Without A Dream won Best Actor at the Sapporo International Short Film Festival. His feature directorial debut, Hand Rolled Cigarette, received seven Golden Horse Awards nominations and earned him Best New Director at the Hong Kong Film Awards. He later directed the awardwinning television series Left on Read, and most recently the Chinese-language adaptation of The Night Manager.

嘉賓講者

陳茂賢是香港電影監製、導演及編劇，現任

香港電影金像獎董事局副主席。其編導作品

包括《不日成婚》、《不日成婚2》及《破．地獄》。

《破．地獄》成為香港史上最高票房華語電影，並於香港電影金像獎及金雞電影獎榮獲最佳編劇，陳茂賢亦憑此片獲亞太影展最佳導演。

嘉賓講者

陳健朗是香港導演及演員，曾憑短片《I Can’t

Live Without A Dream》獲札幌短片影展最佳

男主角。首部執導長片《手捲煙》獲七項金馬獎

提名，並為他贏得香港電影金像獎新晉導演。其後執導劇集《那年盛夏我們綻放如花》，並

憑該作獲亞洲影藝創意大獎最佳劇集獎；最新作品為華語版《夜班經理》。

Pengnan HU

Jukka-Pekka LAAKSO

Guest Speaker

Pengnan HU is a Junior Research Fellow of the Research Grants Council of Hong Kong and a Postdoctoral Fellow at The Education University of Hong Kong. He is also a core member of the Research Centre for Creative Arts and Public Value. He received his PhD from the University of Amsterdam. His research focuses on Asian screen cultures and media industries, particularly vertical micro-dramas, platform-based production, AI-assisted storytelling, creative labour and audience practices.

Jukka-Pekka LAAKSO has been Festival Director of Tampere Film Festival since 2002 and has served on more than 70 film festival juries. He has also been an expert at Berlinale Talents and programmes organized by the European Film Academy, and has given lectures and training internationally. He is also Executive Director of Pirkanmaa Film Centre, which operates an arthouse cinema, distributes films and promotes media education in Finland.

胡鵬南嘉賓講者

胡鵬南現為香港研究資助局新晉學者、香港教育大學博士後研究員，同時為香港教育大學

創意藝術與公共價值研究中心核心成員。他

於阿姆斯特丹大學取得博士學位，主要從事亞洲銀幕文化與媒體產業研究，近年尤其關注豎屏短劇、平台化生產、AI輔助敘事、創意勞動與觀眾實踐等議題。

嘉賓講者

Jukka-Pekka LAAKSO 自2002年起擔任坦佩雷電影節總監，並曾擔任超過70個電影節

的評審。他亦曾於 Berlinale Talents 及歐洲

電影學院主辦的活動擔任專家，並在不同國家進行演講及培訓。他同時擔任 Pirkanmaa

Film Centre 執行總監，參與藝術電影放映、電影發行及媒體教育工作。

Albert LEE

Albert LEUNG

利雅博

梁冠堯

嘉賓講者

Guest Speaker

Albert LEE, retiring Executive Director of the Hong Kong International Film Festival Society, has over four decades of experience in film production, distribution and exhibition. He joined Golden Harvest in 1979 and Emperor Motion Pictures in 2003, producing over 20 films. LEE has served on the boards of the Hong Kong Film Development Council and Singapore Media Festival, and on numerous international film festival juries, including this year’s Toronto International Film Festival. He is also dedicated to film heritage and preservation. 即將卸任的香港國際電影節協會行政總監

Guest Speaker

Albert LEUNG began as an actor before becoming a stuntman and assistant action choreographer. His directorial debut, Stuntman, co-directed with his twin brother, was nominated at the Hong Kong Film Awards and Golden Horse Awards, received the Most Anticipated Chinese-language Film Award at the 37th China Golden Rooster and Hundred Flowers Film Festival, and won both the Grand Jury Prize and Critics Award at the Asian Summer Film Festival in Spain.

梁冠堯以演員身份入行，其後成為特技演員

及動作副指導。他與孿生兄弟聯合執導首作利雅博，擁有逾40年電影製作、發行及放映《武替道》，獲香港電影金像獎及金馬獎提經驗。他於1979年加入嘉禾，2003年加盟名，亦獲第37屆中國金雞百花電影節「年度

英皇電影，製作逾二十部電影。利先生曾任香港電影發展局及新加坡媒體節董事會成

員，並擔任多個國際電影節評審，包括今年的多倫多國際電影節。他亦致力推動電影文化遺產及保育工作。

期待華語電影獎」，並於西班牙亞洲夏日電影節勇奪「評審團大獎」及「影評人大獎」。

Serrino LIU

Stephen LIU

刘世尊

劉思洋

嘉賓講者

Guest Speaker

Serrino LIU is an AI Product Expert at Tencent Miora and holds a master’ s degree from Harvard focused on AI. With experience spanning foundation models, generative AI and agents, he combines technical expertise with a cross-domain product perspective. At Miora, he leads product innovation across film, 3D and interactive formats, bringing AI agents into content creation and interactive workflows.

Stephen LIU is the CFO at NetShort, a firsttier global short-form drama platform. With nearly 15 years of experience spanning private equity and investment banking, he previously held positions at global institutions including Credit Suisse, TPG Capital and China Renaissance, where he gained extensive expertise in complex transactions including private equity investments, IPOs, M&A, and restructuring.

哈佛大學 AI 方向碩士學位。他具備底層模

近15年的股權基金和投資銀行經驗，曾任職

劉世尊現為騰訊 Miora AI 產品專家，擁有

劉思洋現擔任 NetShort 首席財務官，擁有

型、生成式 AI 及 Agent 的產品開發經驗，於瑞信投資銀行、TPG Capital、元生資本、華兼具技術理解力與跨領域產品視野。目前於

興新經濟基金等國際和本土機構，擁有豐富

的產品創新，推動 AI Agent 應用於內容創

易經驗。

Miora 團隊負責影視、3D 及衍生互動方向作與互動場景。

的私募股權投資、上市、併購、重組等複雜交

Thomas NAM 南宗錫

Jack NG

吳煒倫

Guest Speaker

Thomas NAM is a film festival programmer and industry professional. He joined the Busan International Film Festival in 1997 and later served as General Secretary of the Network for the Promotion of Asian Cinema (NETPAC). He currently serves as a programmer at the Bucheon International Fantastic Film Festival (BIFAN) and Managing Director of the Network of Asian Fantastic Films (NAFF), and is a selection committee member for several international film festivals and industry platforms.

Jack NG is a Hong Kong screenwriter and director whose screenwriting credits include SPL, The Beast Stalker, The Stool Pigeon, Unbeatable, Cold War 2 and Anita. In 2023, he made his feature directorial debut with A Guilty Conscience, which won Best Film at the Hong Kong Film Awards and became the first Hong Kong film to gross over HK$100 million locally. His latest film, Night King, also surpassed HK$100 million at the box office.

嘉賓講者

南宗錫是電影節節目策劃及業界人士，1997年

加入釜山國際電影節，其後曾任亞洲電影促進聯盟（NETPAC）秘書長。現為富川國際奇幻電影節（BIFAN）節目策劃及亞洲奇幻電影聯

盟（NAFF）總監，並擔任多個國際電影節及業界平台的評選委員。

嘉賓講者

吳煒倫畢業於香港演藝學院電影電視學院，主修導演。2000年加入電影圈成為編劇，作

品包括《殺破狼》、《証人》、《綫人》、《激戰》、

《寒戰2》及《梅艷芳》等。2023年首次自編自

導電影長片《毒舌大狀》，獲香港電影金像獎

最佳電影及十項提名，並成為香港電影史上

首部票房破億的港產片。最新編導作品《夜王》於2026年上映，再創過億票房。

Philip NG

Raymond RED

Guest Speaker

Philip NG is a Hong Kong-based martial arts actor and action director with over 40 films and television projects to his credit. He recently garnered widespread critical praise for his role as“King”in the hit feature Twilight of the Warriors: Walled In, which earned him a Best Supporting Actor nomination at the 43rd Hong Kong Film Awards.

Raymond RED is a pioneering figure of modern Filipino alternative cinema and the first Filipino to win the Palme d’ Or at the Cannes Film Festival, for his short film Anino. Known for his experimental Super-8mm and 16mm films, he has also mentored and inspired a new generation of Filipino filmmakers. His latest s Finest (2025), is streaming feature, Manila’ worldwide on Netflix.

伍允龍嘉賓講者

伍允龍是香港武術演員及動作導演，曾參與超過40部電影及電視作品。近年憑電影《九龍城寨之圍城》中「王九」一角廣受好評，並獲第43屆香港電影金像獎最佳男配角提名。

嘉賓講者

Raymond RED 是菲律賓現代另類電影的先驅之一，憑短片《Anino》成為首位於康城影展

榮獲金棕櫚獎的菲律賓電影人。他以實驗性

Super8-mm 及16mm電影聞名，並多年來

扶持及啟發新一代菲律賓電影人。最新長片

《Manila’s Finest》（2025）現於 Netflix 全球上架。

REN Zhonglun

TANG Yi

Guest Speaker

REN Zhonglun is a film producer, professor and doctoral supervisor at Shanghai Theatre Academy. Formerly Chairman of Shanghai Film Group and Executive Vice-Chairman and Secretary-General of the Shanghai International Film Festival, he has led over 200 films and television productions, including The Climbers, Lust, Caution and Still Life, and received honours including the Outstanding Producer Award at the China Huabiao Film Awards.

TANG Yi is a Chinese filmmaker and graduate of NYU Tisch School of the Arts. Her second short film, All the Crows in the World, won the Short Film Palme d’ Or at the Cannes Film Festival in 2021. She has participated in La Résidence du Festival, Torino ScriptLab and Berlinale Talents. Her works explore women, underrepresented groups and social issues through a distinctive darkly comedic lens.

電影專業博士生導師，曾任上海電影集團

於2 0 2 1 年榮獲康城影展短片金棕櫚獎。

任仲倫嘉賓講者

任仲倫是電影製片人、教授及上海戲劇學院董事長、上海國際電影節執行副主席兼秘書

唐藝

嘉賓講者

唐藝是中國電影創作者，畢業於紐約大學 Tisch

藝術學院。其第二部短片《天下烏鴉》

她曾參與康城影展 La Résidence、Torino

長等職。他主導製作超過200部影視作品， ScriptLab 及 Berlinale Talents，作品聚焦包括《攀登者》、《色，戒》、《三峽好人》、《亮劍》女性、弱勢群體及社會議題，並以顛覆性的黑及《愛情公寓》等，並曾獲中國電影華表獎

「優秀出品人獎」等多項業界殊榮。

色幽默見稱。

Kunlin WANG

Harriet WONG

Guest Speaker

Kunlin WANG holds an MFA in Film Directing from Chapman University’s Dodge College of Film and Media Arts. She has ten years of cross-genre filmmaking experience. Her filmography includes theatrical feature The Shore of Life, documentary feature Comics and Bayonets, independent feature Obscure, sci-fi short drama series Building on the Moon, AI-produced series Peach Blossom Pool Chronicle, and the viral English-language short drama series Make-up Sex.

Harriet WONG is a Macao filmmaker and graduate of the Beijing Film Academy. After gaining extensive production experience across mainland China and Macao, she made her feature directorial debut with Revisit (2024), supported by Macao film funding and the China Film Directors’ Guild. She is currently working on her second feature film, a co-production with Canada.

王崑琳嘉賓講者

導演王崑琳畢業於查普曼大學道奇電影學院電影導演系，擁有十年跨類型影視創作

履歷，作品包括院線電影《好好說再見》、紀錄電影《漫畫與刺刀》、獨立電影《世外之子》、科

幻短劇《我在月球當包工頭》、AI中劇《桃花

潭記》，及現象級英文短劇《Make-up Sex》等。

黃婷婷

嘉賓講者

黃婷婷是澳門電影創作者，畢業於北京電影學院。在累積內地與澳門豐富的影視製作經

驗後，於2024年完成首部導演長片《幸運閣》，

獲澳門電影資助及中國電影導演協會扶持。她現正籌備第二部長片，為與加拿大合作的合拍電影。

Jacob WONG

Norris WONG

Guest Speaker

Jacob WONG is Director of the Hong Kong International Film Festival Industry Office (HKIFF Industry). Its major initiatives include the Hong Kong - Asia Film Financing Forum (HAF), HAF Goes to Cannes, HAF Film Lab, overseas distribution of the HKIFF Collection and co-production projects. He is also the delegate for Chinese-language cinema at the Berlin International Film Festival.

Norris WONG is a Hong Kong director, screenwriter and lyricist. Her screenwriting credits include Margaret & David – Green Bean and The Gutter, while her directing credits include Netflix’ s At the Moment and RTHK’ s Lion Rock: 2025. Her debut feature My Prince Edward won her Best New Director at the Hong Kong Film Awards. Her second feature, The Lyricist Wannabe, won Best Original Film Song in 2024.

王慶鏘嘉賓講者

王慶鏘是香港國際電影節電影業辦公室

黃綺琳

嘉賓講者

（HKIFFIndustry）總監，負責協會的工業活動，黃綺琳於2012年畢業於香港浸會大學藝術包括香港亞洲電影投資會（HAF）、HAF邁進碩士。劇集編劇作品包括《瑪嘉烈與大衛康城、HAF電影培訓計劃（Film Lab）、 HKIFF Collection海外發行和與電影公司合作的

系列－綠豆》及《歎息橋》、導演作品包括 Netflix《此時此刻》及香港電台《獅子山下

。首部劇情長片《金都》獲香港電影金像獎製作專案。同時擔任柏林國際電影節選片人， 2025》新晉導演、電影評論學會最佳編劇獎及金馬負責華語電影。

獎最佳新導演提名。2024年憑第二部長片

《填詞L》以填詞人身份獲香港電影金像獎最佳原創歌曲。

Janet WU

Fala CHEN

吳妍妍

陳法拉

嘉賓講者

評審

Guest Speaker

JanetWUhasextensiveproductionexperience across China and the U.S., working on films and international co-productions recognised at major film festivals. She currently serves as General Manager of Bright East Films and Director of the China Film Foundation – Wu Tianming Film Fund for Young Talents.

吳妍妍具中美影視製作經驗，參與多部電影

及國際合拍項目，作品屢獲國際影展關注。現任東方天明（北京）電影有限公司總經理及中國電影基金會吳天明青年電影專項基金總監。

Judging Panel

Fala CHEN is an actress, director and writer with an international career. Her credits include Shang-Chi and the Legend of the Ten Rings, Godzilla x Kong: The New Empire and Ballad of a Small Player. A graduate of The Juilliard School’s MFA programme, she also wrote and directed the short film Bloodline, which premiered at the Toronto International Film Festival.

陳法拉是活躍國際影壇的演員、導演及編劇，主要作品包括《尚氣與十環傳奇》、《哥斯拉大

戰金剛2：帝國崛起》及《小人物之歌》。她畢業

於茱莉亞學院藝術碩士課程，亦自編自導短片《血脈》，並於多倫多國際電影節首映。

Judging Panel

DING Yuin Shan

Josie LIN

Judging Panel

Former Acting Dean of the School of Film and Television at The Hong Kong Academy for Performing Arts, DING Yuin Shan has worked in the Hong Kong film industry since 1999. His producing credits include Election (2005), Motorway (2011) and Sisterhood (2016). In recent years, he has focused on collaborating with a new generation of Hong Kong filmmakers.

Josie LIN joined the Asian Film Awards Academy (AFAA) in 2015 and currently serves as Executive Director. She oversees the Academy’s initiatives promoting Asian cinema and fostering exchanges among filmmakers, industry professionals and audiences across the region. Prior to AFAA, she had over 25 years of management and business development experience in marketing and banking.

丁雲山

評審

丁雲山曾任香港演藝學院電影電視學院

署理院長，自1999年投身香港電影業，參與

作品包括《黑社會》(2005)、《車手》(2011)及

《骨妹》(2016)。近年專注電影監製工作，並與香港新生代電影人合作。

連佩蔙

評審

連佩蔙於2015年加入亞洲電影大獎學院，現任執行總監，負責推動亞洲電影及促進區內電影人、業界與觀眾之間的交流。加入

學院前，她在市場及銀行業務領域擁有超過25年的管理及業務拓展經驗。

A DRINK ON ME

Chinese Mainland | Social Drama | Cantonese, Putonghua Digital | 15-min

Synopsis

Against the backdrop of an economic downturn in Guangzhou, real estate agent Xiaorui and Teng, a laid-off programmer turned delivery rider, meet at a nightclub as a“queen”and a “knight,” briefly escaping reality through an absurd ritual of drinking liquor in which Xiaorui has soaked her feet. By day, they return to their separate, exhausting lives, moving through the city and serving one stranger after another. That evening, Xiaorui enters a foot massage parlor and lowers her blistered feet into warm water. Teng happens to arrive with a food delivery. They find themselves in the same room once again, but this time, neither recognizes the other. Last night’ s queen and knight are now simply two ordinary strangers in the city.

導演 | 編劇：藍提

監製：張凡、葉先開

製作預算：¥263,130

故事大綱

請你喝杯酒

經濟下行的廣州，房產中介小蕊與被裁後

送起外賣的程序員阿騰，在夜店以「女王」與「騎士」的身份相遇，在一場荒誕的「喝

泡腳酒」儀式中短暫逃離現實。天亮後，兩人回到各自疲憊的生活，穿梭於城市，服務著不同的陌生人。傍晚，小蕊走進足浴店，將磨破的雙腳浸入熱水；送餐的阿騰恰巧推門而入。兩人再次共處一室，可這

次卻沒有認出彼此。昨夜的女王與騎士，此刻只是城市中兩個普通的陌生人。

Director’s Statement

I once came across a video online in which a female cosplayer soaked her feet in an iced drink while people eagerly paid to drink it. It made me curious: Who are these people in their everyday lives? Set against the backdrop of an economic downturn, the film follows two people navigating the city who borrow alternative identities to escape the pressures of reality. When they become“different characters,”are they moving closer to their true selves, or gradually becoming strangers to themselves? Through the brief encounters of two strangers, I hope to explore the self beneath the masks we wear.

”

導演闡述

網上有這樣一段視頻：一位女 Cosplayer 將雙腳浸入冰飲料中，圍觀者爭相付費飲下。這讓我很好奇，他們在日常生活中是甚麼樣的人？影片以經濟下行的當代社會為背景，講述兩個在城市中奔波的人靠借用另一種身份來逃避壓抑的現實生活。當他們成為「另一個自己」時，是更接近真實的自我，還是在逐漸成為自己的陌生人？我希望藉兩個陌生人的短暫相遇，探索面具之下的自我。

Contact 聯絡

Lenti LIANG 藍提 Email 電郵

lentiliangfilm@gmail.com

”

Director | Screenplay 導演 | 編劇

Lenti LIANG 藍提

A writer, director and producer from Guangzhou, Lenti LIANG holds an MFA in Film & Television Production from the University of Southern California. Her thesis film, Our Secrets, was selected for La Cinef at the 2026 Cannes Film Festival and received the L’Oréal Lights On Women’s Worth Award, presented in partnership with the Cannes Film Festival. 土生土長於廣州的編劇、導演及製片人，藍提畢業於南加

州大學電影電視製作藝術碩士課程。其碩士畢業作品《天

天的秘密》入圍2026年康城影展 La Cinef 單元，並榮獲由歐萊雅與康城影展聯合頒發的「女性價值之光」獎。 Producer 監製

ZHANG Fan 張凡

ZHANG Fan is a producer whose works have received international recognition. One of her producing credits, Living the Land, directed by HUO Meng, won the Silver Bear for Best Director at the 75th Berlinale International Film Festival. 張凡，製片作品屢獲國際殊榮，其中電影《生息之地》（導演霍猛）榮獲第75屆柏林影展最佳導演銀熊獎。 Producer 監製

Sol YE 葉先開

Sol YE is a producer whose works have been selected by major international film festivals. Her producing credits include Across The Waters (Cannes selection), Culture A River A People (Venice selection), and Some Rain Must Fall (won the Special Jury Award at the Berlinale Encounters Competition). 葉先開，製片作品多次入圍多個國際影展。代表製片作品

包括《在水一方》（入圍康城影展）、《又見炊煙》（入圍威尼

斯影展）、《空房間裡的女人》（榮獲柏林影展奇遇競賽單元評審團特別獎）。

AFTER-SALES SERVICE FOR VIOLENCE Chinese Mainland | Drama | Kazakh | Digital | 15-min

導演 | 編劇：張紫微

Budget Estimate: HK$300,000

製作預算：HK$300,000

Producer: WANG Yang

Synopsis

Yala, eighteen and bearing unexplained injuries, arrives in Urumqi to stay with his older cousin Arsen, who operates arcade punching machines across the city. By day, he kills time watching surveillance footage from the machines; by night, he follows Arsen around the city, hauling and repairing them. On a low-resolution screen, he notices Darya, a conveniencestore worker who uses the machine’s reflective display as a mirror while tying up her hair before each shift. They have never met, and she has no idea he is watching her. Then one night, a punching contest spirals out of control. The customer-service phone suddenly rings.

監製：王洋

故事大綱

暴力售後

18歲的亞拉帶著一身來歷不明的傷來到

烏魯木齊，寄住在經營拳力測試機的表哥阿爾森家。白天，他靠看拳力測試機的監

控影像消磨時間；夜裡，跟著表哥搬運、維修城市各處的機器。他在低清屏幕上注意到便利店女孩達爾雅，她總在上班前借著機器的反光紮頭髮。兩人從未見過，她也不知道有人在看。直到一晚，一場拳力比賽失控，機器上的客服電話突然響起。

Director’s Statement

For me,“When Strangers Meet”does not necessarily mean meeting in person. The story follows a boy drifting through the nights of contemporary Urumqi and into an encounter, at a distance, with a girl he has never met. Through the after-sales servicing of an arcade punching machine, I want to explore what remains after violence, and whether a person can begin to repair the damage it leaves behind.

”

導演闡述

對我而言，「When Strangers Meet」不一定意味著真正見面。故事跟隨一個男孩的遊蕩，進入當代烏魯木齊的夜晚，也讓他與一個陌生女孩隔空相遇。借由拳力測試機的售後維修，我想講述暴力之後留下來的東西，以及一個人是否可能開始修復那些損傷。

”

Director | Screenplay 導演｜編劇

ZHANG Ziwei 張紫微

ZHANG Ziwei is a screenwriter and director born in Bortala, Xinjiang. Her work focuses on contemporary representations of ethnic minority communities in Xinjiang. Her screenwriting credits include My Huckleberry Friends and Love Advanced Customization. Her recent film and short-film projects include RIPPLE, SILVERY PRAIRIE, They Are All Talking About the Weather, and SILENT SONG.

張紫微，編劇、導演，出生於新疆博爾塔拉州，關注新疆當代少數民族的影像呈現。編劇作品包括《你好，舊時

光》、《幸福，觸手可及！》；近年電影及短片項目包括《波浪曲》、《北鯢額吉》、《他們都在談論天氣》及《SILENT SONG》。 Producer 監製

WANG Yang 王洋

WANG Yang is a Chinese producer based in Paris. She began her career working on Red Cliff and later worked in post-production on several commercial films. A longtime collaborator of filmmaker WANG Bing, she has worked on films selected at major international festivals including Cannes, Venice, and Locarno. She also produces work by emerging directors, with credits including A Girl Unknown, If I See a Rainbow, and Girl on Edge. She founded Tender Madness Pictures and Memoria Films.

王洋，中國製片人，現居巴黎。曾參與《赤壁》及多部商業電影的後期製作，長期與王兵合作，參與作品曾入選康城、威尼斯

及盧卡諾等國際影展。她亦製作新銳導演作品，包括《無名女孩》、《清水落大雨》及《花漾少女殺人事件》等，並創立 Tender Madness Pictures 與 Memoria Films。

Contact 聯絡

ZHANG Ziwei 張紫微 Email 電郵

13426287933@163.com

FOLDING MAINLAND Chinese Mainland｜Social, Drama, Comedy｜Putonghua｜Digital｜17 min

中國內地｜社會、劇情、喜劇｜普通話｜數碼｜17 分鐘 Director | Screenplay: QU Zhizheng

導演 | 編劇：瞿之正

HUANG Xufeng

製作預算：HK$300,000

Producers: Grégoire DEBAILLY, Budget Estimate: HK$300,000

Synopsis

Two thousand years ago, people met Jesus. Decades ago, people met Oppenheimer. This year, people met AI. FENG Xiao and his friends embrace the nights of the 2020s. They drink heavily, make TikTok videos, go clubbing, and talk excitedly about the possibilities that awaiting them in the coming Web 4.0 era. As the night comes to an end, FENG Xiao returns home, where his father tells him that this morning, he went to the office and signed an agreement called “The Submission of Carbon-Based Life to Silicon-Based Life.”When Feng Xiao returned to his bedroom, he didn’ t feel much of anything. He’ d simply had too much to drink and threw up.

監製：格里高爾·德巴伊、黃旭峰

故事大綱

內陸折疊

二千年前，人們遇見了耶穌；幾十年前，人們遇見了奧本海默；而今年，人們遇見了

人工智慧。馮瀟和他的朋友們享受著

二十一世紀二十年代的夜晚，他們酗酒、拍抖音、流連夜店，暢聊著 Web 4.0 時代到

來後的種種可能。夜深後，馮瀟回到了自己的家裡，父親告訴他，自己今天去公司簽

署了一個協議，叫「碳基對矽基的臣服」。

馮瀟回到自己的臥室，沒什麼太多感覺，只是酒喝太多了，吐了出來。

Director’s Statement

In the post-pandemic era, China has witnessed rapid transformations driven by the internet and AI. As humans encounter AI—a new kind of stranger—our relationship with technology becomes both a source of possibility and anxiety. The pursuit of“financial freedom”and“class mobility”has intensified across generations, turning ease into a rare privilege. This constant search for selfredemption reflects a collective sense of FOMO, revealing how encounters with unfamiliar forces—whether technological or social—reshape our desires, fears, and sense of identity.

導演闡述

在後疫情時代，中國經歷了由網路與人工智慧推動的快速轉型。當人們與人工智慧這

一全新的「陌生人」相遇時，我們與科技之間的關係既孕育著可能性，也伴隨著焦慮。對

於「財務自由」與「階級躍遷」的追求在不同世代間愈發加劇，使得平靜與從容逐漸成為一

種稀缺的「特權」。這種持續不斷的自我救贖，映射出一種集體性的FOMO（害怕錯過），也揭示了人與陌生力量的相遇——無論是技術層面還是社會層面——將如何重新塑造我們的慾望、恐懼與身份認知。

Director | Screenplay 導演｜編劇

QU Zhizheng 瞿之正

”

QU Zhizheng, born in Beijing in 2001, graduated from the Cinematography Department of the Beijing Film Academy with a bachelor’s degree and continued his studies as a postgraduate. His graduation work as a director and screenwriter, 12 Moments Before the FlagRaising Ceremony, has won the Second Prize of the La Cinef (formerly known as Cinéfondation) section of the Cannes Film Festival 2025 and was selected for the Tokyo International Film Festival and numerous other renowned international film festivals.

瞿之正，2001年生於北京，畢業於北京電影學院攝影系本科，並就讀研究生課程。他以導演和編劇的本科畢業作品

《12 Moments Before the Flag-Raising Ceremony》獲得

第 78 屆康城影展基石單元二等獎，並入圍東京國際電影節及多個著名國際影展。

Producer 監製

Grégoire DEBAILLY 格里高爾·德巴伊

Grégoire DEBAILLY is the founder and producer of the French production company Geko Films. He has produced feature films including Arï, which was selected for the Competition section of the Berlin International Film Festival; Siempre Soy Tu Animal Materno, which was selected for the Un Certain Regard section at the Cannes Film Festival and received the Best Actress Award; and Tengo sueños eléctricos, which won Best Director, Best Actor, and Best Actress at the Locarno Film Festival. 格里高爾 · 德巴伊，法國電影製作公司 Geko Films 創始

人與製片人。其製作電影長片作品包括：《阿里》，入圍柏林

電影節主競賽；《我永遠是你母性的動物》，入圍康城影展一種關注單元並獲得最佳女演員獎；《我的電幻夢》，入圍盧卡諾國際電影節主競賽，並獲得最佳導演獎、最佳男演員獎及最佳女演員獎。 Producer 監製

HUANG Xufeng 黃旭峰

HUANG Xufeng, founder and producer of Factory Gate Pictures (Shanghai) Co., Ltd. He has produced feature films including Dwelling in the Fuchun Mountains, The Ballad of a White Cow, Summer of Changsha, Blue Train, Wake Me Up Before You Go, The Trophy Floating on the Sea, A Day Trip, Romance Fragment, All the Sorrowful Young Men, Stories of Yong’an Town, Only the River Flows, and My Heart Is a Wild Bird.

黃旭峰，工廠大門影業創辦人與製片。參與製片電影包括：

《春江水暖》、《氣球》、《永安鎮故事集》、《河邊的錯誤》。

Contact 聯絡

QU Zhizheng 瞿之正 Email 電郵

jenkoqu@gmail.com

GIRI 岳

Hong Kong｜Drama｜Putonghua, Cantonese｜Digital｜15 min

香港｜劇情｜普通話、粵語｜數碼｜15 分鐘 Director | Producer: WONG Ka Ki

導演 | 監製：黃嘉祺

Budget Estimate: HK$320,000

製作預算：HK$320,000

Screenplay: YEUNG Leung Chuen

Synopsis

GIRI, who has lived in the mountains for years, has long been accustomed to a self-sufficient life in the mountains. He cut all his ties with the outside world, and no one had ever discovered him on the mountain. One day, Giri witnessed a young man committing suicide on the edge of a cliff. Since then, people have gone up the mountain to look for the missing young man, and Giri’s quiet life has slowly changed. When a young woman arrives searching for the missing young man, her quiet persistence slowly draws Giri out of his isolation. Through notes hidden in a tree, they form a fragile connection, while Giri recounts a myth about a traveller seeking a legendary white lake atop the mountain.

編劇：楊兩全

As myth and reality intertwine, both journeys reveal longing, loss, and the stories people create to endure. Leading the young woman to the cliff where the young man died, Giri finally confronts another human being, discovering that even the briefest encounter can reshape a life.

故事大綱

匿居山上多年的岳，早已習慣了一個人在山上自給自足的生活。岳與外界斷絕一切

連繫，也沒有人知道他的存在。某日，岳在山崖邊目睹一名陌生少年投崖自殺。自此以後，不時有人上山尋找失蹤的少年，岳

平靜的生活開始發生變化。當少女為了尋

找少年來到山上，她的出現逐漸打破岳與外界之間的距離。二人透過藏在樹洞裡的紙條開始交流，而岳亦向少女講述一個關於旅人尋找山頂白湖的傳說。隨著傳說與現實逐漸交織，岳與少女各自踏上一段尋找與失落的旅程。

Director’s Statement

Giri grew from my fascination with the stories that travel across generations. I grew up hearing tales shaped by different places, where memory and folklore often blurred together. These stories were never about finding answers, but about making sense of longing, distance, and belonging. With Giri, I wanted to create a modern folktale in which the landscape carries the weight of memory and silence speaks louder than words. Through myth and quiet human encounters, the film explores how the stories we inherit continue to shape the way we search for home and understand ourselves.

”

導演闡述

《岳》的創作源於我對那些代代流傳的故事的著迷。我從小聽著來自不同地方的故事長大，當中記憶與傳說往往交織在一起。這些故事從來不是為了尋找答案，而是人們試著理解心中的渴望、距離與歸屬。透過《岳》，我希望創作一個現代寓言，讓山林承

載記憶，也讓沉默比語言說得更多。電影透過傳說與人與人之間安靜的相遇，探索我們從上一代繼承的故事，如何持續影響我們尋找歸屬，以及理解自己的方式。 Contact 聯絡

WONG Ka Ki 黃嘉祺 Email 電郵

wongkaki1102@gmail.com

”

Director | Producer 導演｜監製

WONG Ka Ki 黃嘉祺

WONG Ka Ki graduated from the London Film School with an MA in Filmmaking in March 2018. She is an alumna of Berlinale Talents and the Locarno Filmmakers Academy, as well as a BAFTA Connect member. Her projects have previously participated in Berlinale Talents Script Station, Far East Film Festival Focus Asia All Genres Project Market, and the 18th Hong Kong Asia Film Financing Forum. Her debut feature film I Heard That They Are Not Going To See Each Other Anymore is a hybrid non-fiction which premiered at CPH:DOX 2026 Next:Wave Competition.

2018年畢業於倫敦電影學院導演系碩士。曾參與柏林影展新銳營、金馬電影學院及盧卡諾電影學院。長片項目《菲

與火》曾入選柏林影展劇本工作坊、香港亞洲電影投資會及遠東烏甸尼投資會。首部混合紀錄與劇情長片《傷心公

園》於2026年哥本哈根國際紀錄片節 Next:Wave 競賽單元作世界首映。 Screenplay 編劇

YEUNG Leung Chuen 楊兩全

A Hong Kong director and screenwriter, he won Best Director at the 12th Fresh Wave International Short Film Festival with The Bridge. His scriptwriting work Liu Yang He and Wild Child were awarded Best Picture at the 11th and 14th Fresh Wave International Short Film Festivals, respectively. His debut feature, We Are Born Good, has been selected for the 51st Toronto International Film Festival. 香港導演及編劇。編導短片《白沙堆》獲第12屆鮮浪潮國際

短片節最佳導演。編劇短片《瀏陽河》及《野小子》分別獲第

11屆及第14屆鮮浪潮大獎。首部長片《善男信女》入選第51 屆多倫多國際電影節。

GOOD MORNING Macao | Social Experiment | Cantonese, Putonghua | Digital | 15-min

澳門 | 社會實驗 | 粵語、普通話 | 數碼 | 15分 Director : Niko HO

導演：何卓斌

Producer: Sabrina HO

監製：何善宜

Screenplay: Jacky MOK Budget Estimate: HK$285,000

Synopsis

One ordinary night, sounds of arguing, chopping, and furniture crashing came from behind a door. Neighbor listened each crafting their own version of what was happening. One pressed an ear to the door, another filmed with a phone, someone rang the bell and fled. Everyone assumed someone else would step in. By dawn, the corridor had fallen silent. Yet the noises lingered in their minds until they chose to look away, tending only to their own lives. No one ever knocked to ask,“Are you okay?”The door stayed closed, and so did they. That silence, not the sounds, became the real story of the night.

編劇：莫劍聰

製作預算：HK$285,000

早上好

故事大綱

一個平凡的夜晚，某層樓的走廊上，爭吵

聲、剁塊聲、傢具倒地聲從一扇門後傳出。聲響傳到鄰居們的耳邊，人人心中有一齣自己的哈姆雷特：有人貼門偷聽，有人拿起手機偷拍，有人按了門鈴後逃跑。每個人都認為別人會處理。天亮後，走廊恢復

寧靜。但那扇門後的聲音，還留在每個人的耳邊，但每個人最終的選擇均是「獨善其身」，繼續過自己的日子。

Director’s Statement

When suspecting something is wrong next door, we all speculate privately but wait for someone else to act. If it turns out nothing happened, our night of anxiety reveals less about the neighbor than about ourselves. How quickly we judge strangers, how we project rather than inquire. I became part of this collective delusion, realizing we never saw the full picture. We mistake impressions for truth. The distance between neighbours is just a door one that was never truly knocked on. That silence speaks louder than any imagined crisis.

”

導演闡述

當懷疑鄰居出事，我們各自在心底揣測，卻無人敲門，只等別人出手。若最終虛驚

一場，那整夜的猜疑與不安，說明的不是事件本身，而是我們輕易對陌生人下判斷，習慣活在彼此的投射裡。自己也加入了這場集體妄想，才驚覺：我們以為看見

全貌，其實從未真正認識對方。鄰居之間，只剩一扇門的距離，而那扇門，從未被真正敲響過。

Contact 聯絡

Niko HO 何卓斌

Email 電郵

nikoho123@gmail.com

”

Director 導演

Niko HO 何卓斌

Niko HO is a Macao director. His feature screenplay Me and My Driver Dad was selected for the Young Filmmakers Support Program and recognized at the Golden Rooster Project Market and Jutou Action Initiative. His short Cockroach Family won Best Film at the 86358 Jia Village Short Film Festival and Light My Fire Festival, and was selected for the Golden Horse Film Festival. 何卓斌，澳門導演。長片劇本《我和我的司機老豆》入圍第七屆青蔥計劃，並獲金雞電影創投大會及戲透行動獎項；短片《曱甴家庭》獲第九屆 86358 賈家莊短片週及西影春光最佳影片，並入選金馬影展。

Screenplay 編劇

Jacky MOK 莫劍聰

Jacky MOK joined the Asian Film Awards Academy’ s Young Film Professionals Program in 2023. His screenplay No Smoking received a Special Attention Award at the Golden Rooster Short Film Season and was selected for the HiShorts 2024 Main Competition. 莫劍聰，2023年入選亞洲電影大獎學院「電影專才計劃」，其後於

香港修讀專業編劇課程。編劇作品《禁止吸煙》獲第五屆金雞短片季特別關注短片獎，並入圍 2024 HiShorts 主競賽。

Producer 監製

Sabrina HO 何善宜

Sabrina HO graduated from the Beijing Film Academy and is currently a director at a visual production company. Her directorial work That Night, I Encountered a Group of Black Things on My Way Home received a Best Art Direction nomination. She also produced the award-winning Cockroach Family.

何善宜畢業於北京電影學院製作系，現任視覺公司總監。導演作品《那夜，我在回家的路上撞見一群黑色咚咚》獲最佳美術提名，並擔任得獎短片《曱甴家庭》製片人，具豐富影視製作及項目統籌經驗。

暴力售後

GRAFTLINGS 접목자들

South Korea | Drama, Suspense | Korean | Digital | 18-min

南韓 | 劇情、懸疑 | 韓語 | 數碼 | 18分鐘 Director | Screenplay : Ashlan June

導演｜編劇：Ashlan June

Budget Estimate: US$38,000

製作預算：US$38,000

Producer: Hayoung GHIM

Synopsis

Mija, in her 50s and recently released from prison, returns home hoping to reconcile with her mother, only to find Hoai, an undocumented pregnant Vietnamese caregiver in her 20s, selling the household belongings. Hoai claims Mija’s mother is in a nursing home, but unopened mail, bank withdrawals, and dirt beneath Hoai’ s fingernails arouse Mija’ s suspicion. Digging up a freshly planted flowerbed, Mija discovers her mother’ s corpse. Hoai admits that Mija’ s mother died naturally, but she secretly buried her to avoid deportation and protect her unborn child. Bound by isolation and desperation, Mija lies to the police to protect Hoai, sealing an uneasy and dangerous alliance for survival.

監製：Hayoung GHIM

故事大綱

五十多歲的Mija剛出獄回家，希望與母親

修補關係，卻發現二十多歲、沒有合法居留身份並懷有身孕的越南籍看護Hoai正在變

賣家中物品。Hoai聲稱Mija的母親已入住

安老院，但未拆封的信件、銀行提款紀錄，以及Hoai指甲縫裡的泥土，引起Mija的懷疑。她挖開後院剛翻動過的花圃，赫然發現

母親的屍體。Hoai坦承Mija的母親是自然死亡，但為了避免被遣返並保護未出生的

孩子，她偷偷將老人家埋葬。兩個同樣孤立無援的女人從此命運糾纏，Mija最終選擇向警方撒謊，替Hoai隱瞞真相，結成一段不安而危險的生存同盟。

Director’s Statement

This film explores the paradoxical alliance forged between two marginalized women operating outside the protection of modern society. By confronting an ex-convict burdened by familial guilt with an undocumented immigrant fighting for the survival of her unborn child, I aim to portray the visceral instinct for self-preservation that emerges from extreme isolation. Through a restrained narrative and grounded visual atmosphere, the film refrains from offering a neat moral resolution. Instead, it brings their shared trauma together over a crude backyard grave, confronting the audience with a stark question about systemically created monsters and the desperate choices required to survive in the shadows.

”

導演闡述

本片講述兩名被社會邊緣化的女性，在孤立無援的處境下，意外建立起一段既矛盾又微妙的關係。一個是因過去而對家人深感愧疚的前科犯，另一個是沒有合法居留身份、只求保住自己與腹中孩子的移民。透過兩人的相遇，我希望呈現人在被

逼至絕境時，最直接而強烈的求生本能。電影以克制的敘事和寫實的影像呈現兩人的故事，不試圖為她們的選擇作出明確的道德判斷。後院的一座簡陋墳墓，將兩

個原本毫不相干的人連繫在一起，也讓我思考：當一個人被制度和環境一步步逼到無路可退，為了生存，她可以走到多遠？

”

Director | Screenplay 導演｜編劇

Ashlan JUNE

Ashlan June (Ashlan Hyun Jun KIM) is a South Koreabased independent filmmaker who completed graduate studies in film production and directing at Dankook University. Raised across the UK, Canada, and the US, he brings a multicultural perspective to his work, focusing on human psychology, social realism, and marginalized lives. As of August 2026, he is in post-production— completing color grading and sound mixing—for his debut narrative feature film. Ashlan June（Ashlan Hyun Jun KIM）是現居韓國的獨立

電影人，於檀國大學完成電影製作及導演研究院課程。他曾於英國、加拿大及美國生活，多元文化背景亦影響其創作視野，作品主要關注人物心理、社會現實及邊緣人物。現正為其首部劇情長片進行後期製作，包括調色及混音工作。

Producer 監製

Hayoung GHIM

Hayoung GHIM is a Parsons Fine Arts B.F.A. graduate with a rich background as a 1st Assistant Director and producer in independent cinema. Combining a refined visual sensibility with practical on-set logistics and AI-driven workflows, Hayoung GHIM effectively bridges creative vision with budget-conscious execution. Hayoung GHIM 畢業於帕森設計學院藝術系，取得藝術學士學位，並曾於多部獨立電影擔任第一副導演及製片，具豐富的製作經驗。她兼具敏銳的視覺觸覺與實際的現場製

作能力，並善於運用人工智能技術，在創作理念與製作預算之間取得平衡。

Contact 聯絡

Ashlan June Email 電郵

acnm.kah@gmail.com

暴力售後

IMITATION Hong Kong | Coming-of-Age | Cantonese | Digital | 20-min

香港 | 青春成長 | 粵語 | 數碼 | 20 分鐘 Director | Screenplay:

導演 | 編劇：郭頌儀

Producer: FUNG Wai Sze

製作預算：HK$300,000

Erica KWOK Chung Yee

Budget Estimate: HK$300,000

Synopsis

Sixteen-year-old Noon attends a girls’ school in Hong Kong. With her cropped hair and oversized clothes, she is often mistaken for a tomboy, yet she has no idea what kind of person she wants to become. Moving through four washrooms: at school, in a shopping mall, at home, and inside an ageing industrial building, she quietly imitates the gestures, styles, and behaviors of the women she encounters, borrowing fragments from them to piece together her own vision of the future. Until Moon, a girl who appears to her only through mirrors, a rebellious figure who dares to express her appearance and sexuality, gradually enters her gaze. Noon begins to wonder whether she is looking at a stranger, or another possible version of herself.

監製：馮惠思

故事大綱

我不認識的她

十六歲的月就讀於香港一所女校。留著短髮、穿著寬鬆衣服的她，常被以為是

「TB」，卻不知道自己想成為怎樣的人。穿

梭於學校、商場、家與工廈四個洗手間，她默默觀察並模仿身邊陌生女孩的衣著、姿態與日常行為，從她們身上拼湊對自己的想像。直到一個只在鏡中反覆出現的女孩阿夢，一個敢於展示自己的打

扮與性向、拒絕服從規訓的叛逆身影，逐漸進入她的視線。月開始懷疑，自己一直凝視的究竟是一個陌生人，還是另一個可能的自己。

Director’s Statement

As a child, I was always watching strangers. Only much later did I realise I had been quietly imitating them all along. When I was in secondary school, I would stop at the washroom of my neighbourhood shopping mall before going home to change back into clothes my family would accept. For me, the washroom became a place where I changed identities every day. Outside, I quietly watched unfamiliar women, borrowing fragments from them to imagine other possibilities for myself. It’s a story for the girls who had little private space to become themselves, yet still found small, hidden ways to explore who they might be.

”

導演闡述

我從小喜歡觀察陌生人，後來才發現，自己一直都在模仿她們。中學時，每次回家前，我總會先到屋邨商場的洗手間，把衣服換回家人能接受的樣子。對我而言，洗手

間是一個每天變換身份的地方。在家以外，我默默凝視陌生女性，從她們身上借來

不同的樣子，想像自己還有其他可能。這是一個獻給那些在缺乏私人空間下成長，卻仍在日常的縫隙裡，悄悄探索自己能成為什麼樣子的女孩的故事。

”

Director | Screenplay 導演 | 編劇

Erica KWOK Chung Yee 郭頌儀

Erica KWOK Chung Yee is a Hong Kong writer-director whose work explores East Asian female identity and coming-of-age experiences. Her films have been featured in screening programs focused on Asian studies at institutions such as Asian Film Archive, HumboldtUniversität zu Berlin and Yale University etc. Her latest short film 28 won the Fresh Wave Award and FESTinha Sub16 Award in FEST - New Directors/ New Films 2025. In 2026, she was selected for ENCOURAGE Series Talents and participated in the Seriencamp Conference in Germany.

郭頌儀，香港編劇及導演，創作聚焦東亞女性身份與成長經驗。作品曾於多個以亞洲研究為主題的項目中展映，包括：亞洲電影

資料館、柏林洪堡大學、耶魯大學等。2025年，短片《28》獲鮮浪潮國際短片節鮮浪潮大獎及 FEST - 新導演/新電影節 FESTinha

SUB16 大獎；2026年入選德國 ENCOURAGE Series Talents，並參與 Seriencamp Conference。 Producer 監製

FUNG Wai Sze 馮惠思

FUNG Wai Sze produced Unidentified Murder, which won Best Screenplay at the Hong Kong Film Critics Society Awards and was nominated for Best New Director, Best Supporting Actor, and Best Screenplay at the 2026 Hong Kong Film Awards. He headed the production team on three of“The 25 Best Chinese Language Movies of 2024”according to Asian Movie Pulse: Berlin Teddy-Award winner All Shall Be Well, Golden Horse Netpac-Award winner Montages of a Modern Motherhood, and Nara Audience-Award winner Borrowed Time. 馮惠思最新監製的電影《UFO離奇命案》榮獲香港電影評論學

會最佳編劇以及推薦電影獎，亦入圍2026年香港電影金像獎最佳新導演、男配角及劇本。近年參與作品有柏林泰迪熊奬《從今以後》、金馬NETPAC奈柏克奬《虎毒不》以及奈良觀客賞《人海同游》。

Contact 聯絡

Erica KWOK Chung Yee 郭頌儀

Email 電郵

kwokfreya@gmail.com

RED CANDY Sri Lanka | Drama | Tamil, Sinhala | Digital | 18-min

斯里蘭卡｜劇情｜泰米爾語、僧伽羅語 | 數碼 | 18分鐘 Director | Screenplay | Producer :

導演 | 編劇 | 監製：

Budget Estimate: US$36,600

製作預算：US$36,600

Bavaneedha LOGANATHAN

Synopsis

Eight-year-old Pavi lives with her older sister in a rundown settlement, where poverty shapes their daily lives. When her sister disappears after becoming trapped in the local drug trade, Pavi turns to a feared gangster woman for help. Bound by tragedy, the unlikely pair journey through violence and loss, gradually finding trust, compassion and an unexpected sense of family.

Bavaneedha LOGANATHAN

故事大綱

八歲的帕維與姊姊居於一個破落社區，貧困籠罩著她們的日常生活。姊姊因捲入當地毒品交易而失蹤後，帕維向一名令人畏懼的女幫派分子求助。兩人在暴力與失落中結伴同行，逐漸建立信任與關懷，並在彼此身上找到意想不到的家人情誼。

Director’s Statement

Growing up as a Tamil child in urban Colombo during Sri Lanka’s civil war, I often carried a sense of being an outsider. Raised by a single mother within a large Tamil joint family, I grew up understanding love not through words, but through protection—through standing up for one another. This experience deeply shaped the emotional world of Red Candy. Set against the realities of urban poverty and economic crisis, the film is ultimately about two lonely strangers who unexpectedly find family in each other, and how compassion can emerge from those we fear most

”

導演闡述

我在斯里蘭卡內戰期間於城市科倫坡成長，作為泰米爾族孩子，經常感到自己是局

外人。由單親母親撫養，在大家庭中長大的經歷，讓我明白愛有時並非透過言語，而是透過彼此保護來表達。《Red Candy》源自這些成長經歷，電影以城市貧困與經濟危機為背景，講述兩名孤獨的陌生人如何意外地在彼此身上找到家人的感覺，以及我們如何能在最懼怕的人身上發現關懷與人性。

Contact 聯絡

Bavaneedha LOGANATHAN

Email 電郵

bavaneedha2@gmail.com

”

Director | Screenplay | Producer 導演 | 編劇 | 監製

Bavaneedha LOGANATHAN

Bavaneedha LOGANATHAN is a Sri Lankan filmmaker, screenwriter and producer whose work explores women’ s lives, motherhood, displacement, identity, folk mythology and marginalized communities. A Prince Claus Seed Award recipient and Berlinale Talents Mastercard Fellow (2025), she has participated in international programmes including Film Independent (USA), Busan AFiS and NAFF Fantastic Film School. Her short films have screened internationally, including the world premiere of Island Story at FIFF 2025, where she also served as a jury member.

Bavaneedha LOGANATHAN 斯里蘭卡導演、編劇及監製，作品聚焦女性生命聲音、母職、流離、與身份認同、民間神話及邊緣社群。她曾獲 Prince Claus Seed Award，並入選

2025 年 Berlinale Talents Mastercard Fellow，亦曾參與

Film Independent、Busan AFIS 及 NAFF Fantastic Film School等國際電影人才計劃。其短片曾於多個國際影展放映，包括於 IFFI 2025 世界首映的《Island Story》，她亦於同屆影展擔任評審。

暴力售後

THE WAY HOME Singapore | Drama | English, Putonghua | Digital | 16-min

新加坡 | 劇情 | 英語、普通話 | 數碼 | 16分鐘 Director | Screenplay :

導演｜編劇：蕭韻心

Producer: WONG Xiao Xuan

製作預算：US$38,000

Christine SEOW

Budget Estimate: US$38,000

Synopsis

Seven-year-old Ting meets her father for the first time after his release from prison. To bridge the years they’ve lost, he takes her on a day trip to Sentosa, but their outing is marked by awkward silences and unfamiliarity. As the day unfolds, Ting begins to notice his quiet acts of care, and their shared experiences slowly transform hesitation into trust. By evening, they leave Sentosa and she eventually falls asleep on the train journey home, and her father carries her home on his back. Through a single ordinary day, two strangers take the first steps toward becoming father and daughter.

監製：黃筱萱

故事大綱

爸爸在哪裡

七歲的Ting在父親出獄後，第一次與他見

面。為了彌補錯過的歲月，父親帶她到聖淘沙遊玩一天，但一路上，兩人之間只有

尷尬的沉默與陌生。隨著一天過去，Ting 開始留意到父親不經意流露的關懷，而兩人一起經歷的點滴，也漸漸將最初的遲疑

化成信任。傍晚，他們離開聖淘沙，回家途中，Ting在列車上沉沉睡去，父親便把她背回家。就在這平凡的一天裡，兩個原本陌生的人，開始踏出成為父女的第一步。

Director’s Statement

When I was young, my father was away for a certain period of time. I didn’t understand why; I only knew that Daddy had to leave for a while. When he finally came home, everyone expected me to run into his arms. Instead, I stood frozen. I felt awkward, and he felt unfamiliar—almost like a stranger. This film is based on my memory of a quiet father-daughter trip he took me on to Sentosa, the only date we ever had together. The story is told through a little girl’s point of view as she tries to understand the world around her.

”

導演闡述

小時候，父親曾有一段時間不在家。當時的我並不明白發生了甚麼事，只知道爸爸要離開一段時間。當父親終於回家時，所有人都催促我跑過去抱著他，我卻站在原地，一動也不動。我感到尷尬，而眼前的爸爸也很陌生，幾乎就像一個陌生人。這部電影源自我的一段回憶——父親曾帶我到聖淘沙，度過了一趟安靜的父女之旅，那也是我們唯一一次單獨約會。電影以一個小女孩的視角出發，看她如何嘗試理解身邊的世界。

Contact 聯絡

Christine SEOW 蕭韻心 Email 電郵

christine@tiredriot.com

”

Director | Screenplay 導演｜編劇

Christine SEOW 蕭韻心

Christine SEOW is a Singaporean filmmaker and an alumna of the National Film and Television School in the UK. Her short film, Two Travelling Aunties, won Best NonFiction at the Sony Future Filmmaker Awards 2026, Best Documentary at the Eye Catcher Global 2025, and Best Student Short at KASHISH Pride Film Festival 2025. Her work explores themes of identity, belonging, and the quiet complexities of everyday life.

蕭韻心是新加坡電影導演，畢業於英國國家電視學院。她的短片《Two Travelling Aunties》曾獲得2026年 Sony Future Filmmaker Awards 榮獲最佳非劇情片獎、2025年Eye Catcher

Global最佳紀錄片及 2025 KASHISH Pride Film Festival 最佳

學生短片。她的創作探索身分認同、歸屬感，以及日常生活中那些細微而複雜的情感。 Producer 監製

WONG Xiao Xuan 黃筱萱

WONG Xiao Xuan is a Singaporean film producer whose works articulate the dialogue of queer and women’s narratives. She co-produced The Old Man and His Car (2025), which premiered at the Tokyo International Film Festival, and recently line-produced Hajat Ali. Her short film Today’s Sunlight Falls Weakly on You won Best Short Film at the Singapore Youth Film Festival. She has trained at Busan Asian Film School, Rotterdam Lab, and the Docs by the Sea Producing Lab.

黃筱萱是新加坡電影監製，致力於探索酷兒與女性敘事。她共

同製作的《老破車》（2025）於東京國際電影節首映，近期亦擔任《Hajat Ali》的製作統籌。她的短片《Today’s Sunlight Falls

Weakly on You》榮獲新加坡青年電影節最佳短片獎。她曾參與

釜山亞洲電影學校、鹿特丹培訓計畫及 Docs by the Sea 製片培訓計畫。

TOWER Macao | Drama | Cantonese, Putonghua | Digital | 18-min

澳門 | 劇情 | 粵語、普通話 | 數碼 | 18分鐘 Director: CHAN Chon Sin

導演：陳俊先

Producer:HONG Heng Fai

監製：孔慶輝

Screenplay: YE Shi Zhao

Budget Estimate: HK$299,000

Synopsis

Min, a young woman from mainland China, meets her online friend Zhong in person for the first time. Wandering through the urban landscape of Macau, they attempt to bridge the distance between them through casual banter and playful role-playing, slowly unraveling each other’s pasts. Amidst the city’s replica Western architecture, they construct an illusion of romance, treating tourist attractions as a playground for their relationship. However, after sharing a fleeting moment of connection, both recoil from a sudden fear of intimacy, causing the romance to abruptly dissipate. As the night deepens, Min must ultimately decide whether to stay or walk away.

鐵塔

編劇：葉史昭

製作預算：HK$299,000

故事大綱

大陸女孩小敏與網友鐘仔初次見面。兩人漫遊澳門都市，在閒談與角色扮演中試著走近彼此，了解對方的過去。他們試圖在

西式建築中構築愛情的想像，將觀光景點當作關係的遊樂場。然而，在共度短暫的

浪漫時刻後，兩人卻因對親密關係的恐懼

而退縮，愛情忽然消散。夜深，小敏必須要決定留下，還是離開。

Director’s Statement

Macao is a mirage built for the tourist gaze—full of luxury and spectacle for visitors, yet alienating and unreal for locals. Through an unfinished, misplaced relationship, Tower turns the city into a mirror reflecting inner emptiness. When a city belongs neither to its locals nor truly to its tourists, where do emotions take root? Through a brief, indefinable encounter, we witness how contemporary youth struggle upon a stage built for others, tentatively reaching out to grasp a sliver of their own truth.

”

導演闡述

澳門是為觀光凝視而建的幻境，對遊客充滿奢華與奇觀，對本地人卻顯得疏離

而虛構。《鐵塔》透過一段未完成的錯置關係，將城市化作折射內心空洞的鏡

子。當城市既不屬於本地人，也不真正屬於遊客時，情感該如何落地？藉由一

場難以定義的短暫交會，我們看見當代青年如何在一座為他人建造的舞台上，掙扎著試探並抓住一絲屬於自己的真實。

Contact 聯絡

CHAN Chon Sin 陳俊先 Email 電郵

chanchonsin@gmail.com

”

Director 導演

CHAN Chon Sin 陳俊先

CHAN Chon Sin is currently pursuing an MFA in Filmmaking at Taipei National University of the Arts. His work explores personal perception and social phenomena through experimental and poetic imagery. His short film Nuptial Flight was selected for the Taipei Golden Horse Film Festival in 2024.

陳俊先現就讀臺北藝術大學電影創作學系碩士班，作品以實驗性與詩意影像探索個人感知、社會現象，以及人與世界的關係。短片《昏飛》於 2024年入選台北金馬影展。

Screenplay 編劇

YE Shi Zhao 葉史昭

YE Shi Zhao graduated from the Central Academy of Drama and Screenwriting at Taipei National University of the Arts. His works have been selected for the Berlinale, Visions du Réel and ClermontFerrand, nominated at the Golden Horse Awards, and won Best Asian Narrative Short at the 26th SSFF & ASIA.

葉史昭畢業於中央戲劇學院電影導演專業及臺北藝術大學編劇碩士班，作品探討文化身分、地緣邊界等社會議題，亦曾入選柏林影展、瑞士真實影展及克萊蒙費朗國際短片影展，並獲金馬獎提名及第26屆 SSFF & ASIA 最佳亞洲劇情短片獎。

Producer 監製

HONG Heng Fai 孔慶輝

HONG Heng Fai is a Macao director. His debut feature, Kissing the Ground You Walked On, won Best Director at the Hong Kong International Film Festival’ s Young Cinema Competition and Best Narrative Feature at the South Taiwan Film Festival. It was also selected for International Film Festival Rotterdam and São Paulo International Film Festival, and nominated for Best New Director at the 59th Golden Horse Awards.

孔慶輝是澳門電影導演，憑首作《海鷗來過的房間》獲香港國際電影節新秀電影競賽（華語）最佳導演，並獲南方影展最佳劇情片。電影亦入

選了鹿特丹國際影展、巴西聖保羅國際電影節等國際影展，並獲第59 屆金馬獎最佳新導演提名。

暴力售後

UNDER A BURNING SUN Chinese Mainland | Road Movie, Youth | Putonghua | Digital | 25-min

導演 | 編劇：薄漢雄

Budget Estimate: ¥255,000

製作預算：¥255,000

Producer: LUO Qiujun

Synopsis

Twenty-year-old Ai escapes her deadend life at a roadside truck-stop hair salon after meeting Xiaohai, the charismatic leader of a group of drifters travelling across China in a battered van. Their journey offers her love, freedom and, for the first time, a sense of belonging. But the group’s nomadic utopia is sustained by a morally ambiguous hustle built on intimate encounters with strangers. When Ai is asked to meet one herself, another encounter with a stranger changes the course of her life, forcing her to choose between belonging and her own dignity.

監製：羅秋君

燃燒太陽

故事大綱

二十歲的女孩艾逃離高速公路服務區旁

的理髮店，加入小海帶領的一群年輕人，乘著破舊麵包車穿越中國。在流浪、狂歡

與愛情中，她第一次找到自由與歸屬感。然而，她漸漸發現，這個流浪烏托邦依靠

與陌生人親密接觸的灰色生意維持。當艾也被要求參與其中，另一次與陌生人的相遇卻改變了她的人生，迫使她在歸屬與尊嚴之間作出選擇。

Director’s Statement

Under a Burning Sun is inspired by my observations of China’s highway service areas, where countless trucks head into the distance while many young people remain behind—a landscape of movement and stagnation. I was also drawn to a growing trend of young people making money through transactional relationships with older men. What interests me is not this grey way of living, but the uncertainty behind it: when the future becomes unclear, some choose to burn through the present rather than wait for tomorrow. Through a road journey, non-professional actors and a documentary-style approach, I hope to capture this generation’s drifting lives, desires and loneliness, and how chance encounters can shape a person’s life.

”

導演闡述

《燃燒太陽》的靈感來自我對中國高速公路服務區的觀察。無數貨車駛向遠方，許

多年輕人卻停留原地，形成一種流動與停滯並存的景象。近年年輕人之間流行的

「崩老頭」現象也引發我的思考。我關注的並非這種灰色生存方式，而是背後的不

安：當未來變得模糊，有些人選擇燃燒當下，而不是等待明天。透過一場公路旅行、非職業演員及紀錄式拍攝，我希望呈現這一代人的漂泊、慾望與孤獨，以及偶然的相遇如何改變人生。 Contact 聯絡

BO Hanxiong 薄漢雄

Email 電郵

bohanxiong23@gmail.com

”

Director | Screenplay 導演 | 編劇

BO Hanxiong 薄漢雄

BO Hanxiong is a writer-director and a graduate of UCLA’s School of Theater, Film and Television. He was selected for the Locarno Filmmakers Academy in 2024, and his work focuses on contemporary youth and social realities. His short film Drifting premiered at the San Sebastián International Film Festival, while No One Knows I’m Gone was selected for festivals including Shanghai, San Sebastián and Pingyao. Both films were acquired for distribution by European public broadcaster ARTE. 薄漢雄，導演、編劇，畢業於UCLA電影學院導演系，2024年

入選洛迦諾電影學院（Locarno Filmmakers Academy），作品持續關注當代青年與社會現實。短片《漂流》首映於聖

塞巴斯蒂安國際電影節，並入選洛迦諾電影學院放映單元；

《無人知道我消失》曾入選上海國際電影節、聖塞巴斯蒂安國際電影節及平遙國際電影展。兩部短片均獲歐洲公共電視台 ARTE 購入並發行。

Producer 監製

LUO Qiujun 羅秋君

LUO Qiujun is an independent producer whose works have received nominations and awards at international film festivals. She has experience guiding projects from script development through production and festival delivery, and is skilled at working with people across different generations. 羅秋君是獨立製片人，作品曾於多個國際影展獲提名及獎

項。她具備從劇本開發、製作到影展發行的項目經驗，並擅長與不同世代的創作者合作。

UNPROVEN Hong Kong | Drama | Cantonese, English | Digital | 20-min

香港 | 劇情 | 粵語、英語 | 數碼 | 20分鐘 Director | Screenplay: LAW Yik Man

導演 | 編劇：羅亦敏

Asli FERHATOGLU

Producers:Chandra Shekhar VYAS, Budget Estimate: US$38,300

Synopsis

Pakistani student Ishaan, whose visa is about to expire, rehearses his testimony for an LGBTQ asylum interview, trying to construct a believable version of himself. One rainy night in Vancouver, he meets Ah Long, a Hong Kong migrant carrying an unopened letter from home. As their conversation deepens, suspicion and attraction give way to questions of migration, desire and identity. With truth and performance increasingly blurred, they confront the fear that what matters most may disappear if it cannot be proven.

未明

監製：Chandra Shekhar VYAS, 製作預算：US$38,300

故事大綱

巴基斯坦留學生 Ishaan 的簽證即將到期，他反覆排練 LGBTQ 庇護面談的陳述，試圖

塑造一個令人相信的自己。某個雨夜，他

在溫哥華遇上帶著一封未拆家書的香港移民阿朗。隨著交談深入，兩人在懷疑與吸引之間，開始重新思考移民、慾望與身

份認同。當真實與表演的界線逐漸模糊，他們也面對共同的恐懼：那些最重要的情感與記憶，會否因無法被證明而消失。

Director’s Statement

Unproven is inspired by the real experiences of LGBTQ asylum seekers and Hong Kong migrants navigating displacement and uncertainty. Having lived between cultures, I am drawn to the invisible borders people carry within themselves—the memories they protect, the identities they struggle to explain, and the stories they reshape in order to be understood. Through the encounter between two strangers, I want to explore the fragile space between truth and performance, where a person’s most intimate experiences must be translated into something others can recognize. The film asks: if something cannot be proven, does it make it any less real?

”

導演闡述

《未明》靈感來自LGBTQ庇護申請者與香港離散者的真實經歷。曾生活於不同文化之間，我一直關注人們如何在陌生環境中重新定義自己那些無法被證明的記憶、身份與情

感。透過 Ishaan 與阿朗的一夜相遇，我希望探索真相與表演的模糊地帶，以及人如何將最私密的經歷轉化為他人能理解的故事。當一件事無法被證明，它是否仍然真實存在？ Contact 聯絡

LAW Yik Man 羅亦敏 Email 電郵

unprovenfilm@gmail.com

”

Director | Screenplay 導演 | 編劇

LAW Yik Man 羅亦敏

LAW Yik Man is a Vancouver-based writer-director and First Class Honours graduate of the Academy of Film at Hong Kong Baptist University. Their writing has been recognized by the Youth Literary Awards, and recently received a Best Screenplay and an Honourable Mentions at the 5th Hong Kong Lesbian and Gay Film Festival Short Film Screenplay Competition. Since 2022, they have worked in the Canadian film industry on productions including Avatar: Fire and Ash, Tron: Ares and Andor Season 2. 羅亦敏是現居溫哥華的編導，畢業於香港浸會大學電影學院，獲一級

榮譽學位，創作曾獲青年文學獎肯定，並於第五屆香港同志影展短片劇本創作比賽獲優勝獎及榮譽獎。自 2022 年起投身加拿大電影業，曾參與《Avatar: Fire and Ash》、《Tron: Ares》及《Andor》第二季等製作。

Producer 監製

Chandra Shekhar VYAS

Chandra Shekhar VYAS is a British Columbia-based producer and cinematographer with experience across production and postproduction. His work spans producing, cinematography, editing and color grading, and has received awards at Canadian regional festivals. He currently has a feature film in post-production.

Chandra Shekhar VYAS是現居加拿大卑詩省的製片人及攝影師，具備製片、攝影、剪接及調色等經驗，作品曾於加拿大地區影展獲獎。目前有一部長片正在後期製作。

Producer 監製

Asli FERHATOGLU

Asli FERHATOGLU is a Vancouver-based producer and marketing professional with experience in Canada and South Korea. Her work spans production, marketing and audience development. She is Treasurer of the PuSh International Performing Arts Festival and a Board Member of Glitch Theatre.

Asli FERHATOGLU 是現居溫哥華的製片人及市場推廣專業人士，曾於加拿大及南韓參與製作，工作涵蓋製片、市場推廣及觀眾拓

展。她現任 PuSh International Performing Arts Festival 財務主管及 Glitch Theatre 董事。

WE CAME BACK TO STRANGERS, DAD POMPOSH

Kyrgyzstan | Coming-of-Age | Kyrgyz | Digital | 20-min

導演 | 編劇：Ilimbek MAKSATBEKOV

Producer: Amina SATAROVA

製作預算：US$37,600

Ilimbek MAKSATBEKOV

Budget Estimate: US$37,600

Synopsis

After twenty years away, Arman returns to his Kyrgyz village with his family for a school reunion. Through the camera of his nine-year-old son, Pomposh, the village feels both familiar and strange. As Arman reconnects with old friends and a lost love, his sons struggle between two cultures and different ideas of belonging. Over one night, nostalgia gives way to a painful reckoning with identity, masculinity, and acceptance.

監製：Amina SATAROVA

故事大綱

離鄉二十年後，Arman帶著家人回到吉爾吉斯家鄉參加同學聚會。透過九歲兒

子 Pomposh 的鏡頭，眼前的村莊既熟悉

又陌生。Arman 與昔日好友及舊愛重逢，兩個兒子卻在兩種文化與不同的歸屬感之間徘徊。一夜之間，懷舊逐漸褪去，取

而代之的是對身份、男性氣質與接納的重新審視。

Director’s Statement

Inspired by our summer trip, the story unfolds through nine-year-old Pomposh’s family handycam as he observes his father’s homecoming and a world of strangers. His curious gaze contrasts a new generation with inherited ideas of masculinity and belonging, revealing both the beauty and violence beneath nostalgia. The film draws inspiration from Yi Yi (2000, Edward YANG) and Aftersun (2022, Charlotte WELLS).

”

導演闡述

故事靈感來自我們的一次夏日旅程，透過九歲 Pomposh 的家庭攝錄機，記錄父

親回鄉以及眼前這個既陌生又好奇的世界。他的視角呈現新一代與傳統男性觀念及歸屬感之間的落差，也揭開懷舊背後的美好與傷痛。影片參考楊德昌的《一一》（2000）及 Charlotte WELLS的《Aftersun》（2022）。

Contact 聯絡

”

Ilimbek MAKSATBEKOV Email 電郵

maksatbekov03@gmail.com

Director | Screenplay 導演 | 編劇

Ilimbek MAKSATBEKOV

Ilimbek MAKSATBEKOV is a self-taught director from Kyrgyzstan who began his career in documentary before moving into narrative film. His works include the short film Araket, the documentary Youth of Kyrgyz Ballet, and his debut feature in development, IZAT, which won a development award at the CAF Pitching of BIFF 2026. His stories explore heritage, identity, and generational change through a Central Asian lens. Ilimbek MAKSATBEKOV 是來自吉爾吉斯斯坦的導演，從紀錄

片創作起步，逐漸轉向劇情片。作品包括短片《Araket》、紀錄

片《Youth of Kyrgyz Ballet》，以及正在開發的首部長片《IZAT》

，後者於 2026 年釜山國際電影節 CAF 創投獲開發獎。他的作品以中亞文化為背景，探討傳統、身份認同與世代變遷。

Producer 監製

Amina SATAROVA

Amina SATAROVA is a Kyrgyz producer and a graduate of Lingnan University, Hong Kong, in Visual Arts & Film. Her works include ARAKET, directed by Ilimbek Maksatbekov and supported by the Swiss Embassy. She is currently producing her debut feature, Izat, which won a development award at BIFF 2026. Her work focuses on stories that challenge cultural taboos and amplify Central Asian voices. Amina SATAROVA 是吉爾吉斯斯坦製片人，畢業於香港嶺南

大學視覺藝術及電影系。作品包括由 Ilimbek Maksatbekov 執導、獲瑞士大使館支持的《ARAKET》。目前正製作首部長

片《Izat》，該片於 2026 年釜山國際電影節獲開發獎。她的作品關注文化禁忌，並致力呈現中亞的聲音。

WHAT REMAINS OF THE ORDINARY উত্তরাায়ণ Bangladesh | Drama | Bengali | Digital | 15-min

孟加拉 | 劇情 | 孟加拉語 | 數碼 | 15分鐘 Director | Screenplay:

導演 | 編劇：Shubha Kumar PAUL

Producer: Barkat Hossain POLASH

製作預算：US$39,320

Shubha Kumar PAUL

Estimate: US$39,320

Synopsis

Rashed, an airport cargo worker, is assigned to escort the coffin of Anwar, a migrant worker who died in Riyadh, to his remote village. When Anwar’s grieving mother mistakes him for her son’s friend, Rashed cannot bring himself to correct her and stays for the funeral. Anwar’s sister, Ruma, sees through Rashed’s hesitation from the beginning but shares intimate memories of her brother anyway. Asked to speak at the funeral, Rashed eulogizes a stranger, borrowing Ruma’s memories as his own. Back at the airport, another coffin arrives, but his relationship with the dead has quietly changed.

監製：Barkat Hossain POLASH

故事大綱

在機場從事貨運工作的Rashed，被安排

護送在利雅德身亡的移工Anwar的棺木返回偏遠家鄉。Anwar悲痛的母親誤以

為Rashed是兒子的朋友，他卻沒有勇氣說出真相，只好留下參加喪禮。Anwar的

妹妹Ruma從一開始便看出了他的猶豫，卻仍向他分享哥哥生前的私密回憶。喪禮上，Rashed被邀請致悼詞，只能借用 Ruma的回憶，悼念一個素未謀面的陌生

人。回到機場後，又一副棺木抵達，但他與死者之間的關係，已悄然改變。

Director’s Statement

I began filmmaking through documentaries for NGOs, spending nearly twelve years travelling across Bangladesh and witnessing the lives of people at the margins. These experiences taught me that behind every statistic is a personal story. What Remains of the Ordinary grew from this understanding. Through Rashed’s journey, I explore migration, grief, and unexpected connections between strangers. The film reflects my belief that no life is ordinary, and everyone deserves to be remembered beyond their death.

”

導演闡述

我的電影創作始於為非政府組織拍攝紀錄片。近八年間，我走遍孟加拉，接觸生活在社會邊緣的人。這些經歷讓我明白，每個統計數字背後，都有一個屬於自己的故

事。《What Remains of the Ordinary》正是源於這份體會。透過 Rashed 的旅程，我探討移民、哀傷，以及陌生人之間意想不到的連結。我相信，沒有任何生命是平凡的，每個人都值得被記住，而不應只以死亡來定義。 Contact 聯絡

Shubha Kumar PAUL Email 電郵

shubh.k.paul@hotmail.com

”

Director | Screenplay 導演 | 編劇

Shubha Kumar PAUL

Shubha Kumar PAUL is a Bangladeshi writer, director, and producer with over 12 years of experience across documentaries, commercials, and narrative films. He has also worked extensively as an editor and cinematographer. He received Bangladesh’s National Grant for Films in 2022, and his short films have screened internationally. A 2026 Fellow of the Busan Asian Film School in South Korea, he is currently developing his first feature film, the first instalment in his planned Queer Trilogy, exploring LGBTQ+ lives in Bangladesh. Shubha Kumar PAUL是孟加拉編劇、導演及製片人，擁有逾 12年紀錄片、廣告及劇情片製作經驗，亦曾從事剪輯及攝影

指導。2022年獲孟加拉National Grant for Films，其短片曾於多個國際影展放映。2026 年入選釜山亞洲電影學院，現正開發其首部長片，為其計劃中 LGBTQ+ 三部曲的首部作品。 Producer 監製

Barkat Hossain POLASH

Barkat Hossain POLASH is a producer and cinematographer based in Dhaka, Bangladesh, with over 13 years of industry experience. In 2022, he founded Emerging Filmmakers Bangladesh (EFB), a nonprofit supporting emerging independent filmmakers. He is a fellow of Berlinale Talents, the Asian Film Academy, and the Kyoto Filmmakers Lab. Barkat Hossain POLASH 是常駐孟加拉達卡的製片人及攝影師，擁有逾 13 年電影業經驗。2022 年，他創立非牟利

平台 Emerging Filmmakers Bangladesh（EFB），支持新

晉獨立電影工作者。他曾入選柏林影展新銳營、亞洲電影學院及京都電影人實驗室。

暴力售後

WHERE THE SORROW OVERFLOWS Hong Kong | Drama, Fantasy, Realism

Nepalese, Cantonese, English | Digital 4K | 20-min

導演 | 編劇：徐儷恩

Estimate: HK$300,000

製作預算：HK$300,000

Producer: Steve LI

Synopsis

Riya, a Nepali single mother, is pushed to her limit by persistent water seepage in her cramped apartment. Suspecting it comes from upstairs, she confronts Ah Seng, a 65-year-old man exhausted from caring for his ailing wife. What begins as a demand for compensation soon throws both fragile households into turmoil. As the seepage worsens, Riya and Ah Seng are forced to investigate together, only to discover that what needs repairing goes beyond the cracks between their homes.

屋泣

監製：李昊

故事大綱

尼泊爾裔單親媽媽Riya飽受家中滲水問題困擾，於是到樓上找獨力照顧臥病妻

子的65歲老人阿生理論。一場滲水糾紛，很快令兩個脆弱的家庭陷入衝突。隨著

滲水逐漸失控，二人被迫聯手追查源頭，卻發現需要修補的，不只是兩個單位之間的裂縫，還有各自難以癒合的內心創傷。

Director’s Statement

This story grew from two people in my life: my grandmother, overwhelmed by caring for my ill grandfather, and a Nepali widow who had no time to grieve while struggling to make a living. Their experiences showed me how little room Hong Kong leaves for grief. Through a water seepage dispute, I bring two strangers together, allowing their pain to surface and their fractured lives to begin to heal.

”

導演闡述

這個故事源於我生命中兩個人的經歷：因照顧患病外公而不堪重負的外婆，以及為生計奔波、無暇哀悼亡夫的尼泊爾遺孀。她們讓我感受到，在香港這座城市，悲傷往往沒有喘息的空間。因此，我以一場滲水糾紛讓兩個陌生人相遇，讓壓抑的傷痛找到出口，也讓破碎的生活重新有修補的可能。 Contact 聯絡

Nadia CHUI 徐儷恩 Email 電郵

nadiachui0918@gmail.com

”

Director | Screenplay 導演 | 編劇

Nadia CHUI 徐儷恩

Nadia CHUI is a Hong Kong filmmaker and graduate of the University of Hong Kong who further studied filmmaking at UCLA. Her directorial debut, Missing (2024), won the IFP 50-Hour Filmmaking Bronze Award, while her script Where Two Peonies Fell (2025) received Best Screenplay at the Hong Kong Lesbian & Gay Film Festival. She also works as an assistant director and scriptwriter on local film and musical productions. 徐儷恩畢業於香港大學，其後赴加州大學洛杉磯分校進修電

影製作。導演處女作《Missing》（2024）獲IFP50小時電影製作銅獎，劇本《再夢牡丹》（2025）則獲香港同志影展最佳劇

本。她亦參與本地電影及音樂劇製作，擔任副導演及編劇。 Producer 監製

Steve LI 李昊

Steve LI is a Hong Kong film director, producer, and screenwriter. The Red Kiss (2025) was shortlisted for the Osaka Asian Film Festival and Filmfest Dresden. The Land of Bliss (2024) won Best Cinematography at Fresh Wave, while Brave New Era (2023) received Best Screenplay and the Silver Award for Best Microfilm at the Microfilm“Production + Plus”Support Scheme. 李昊是香港導演、監製及編劇。《刺鳥》（2025）入圍大阪亞

洲電影節及德累斯頓國際短片節；《極樂》（2024）獲鮮浪潮

國際短片節最佳攝影；《金剛怒目》（2023）獲微電影「創+作」

支援計劃最佳編劇及最佳微電影銀獎。

暴力售後

YESIMDE Есiмде

Kazakhstan | Psychological Drama | Kazakh, Russian | Digital | 12-min

導演 | 編劇 | 監製：

Producer: Aruzhan DOSSYMKOZHA

監製： Aruzhan DOSSYMKOZHA

Ainamkoz YEMZHAROVA Estimate: US$41,259

Synopsis

After her son moves abroad with his family, 50-year-old Saule is left alone in the house. One morning, she finds a young woman living there who claims to know her son — a claim seemingly confirmed by a video call. Polite but distant, the stranger leaves meals before disappearing back into her work. As Saule grows increasingly isolated, she spots her daughter outside calling her name and joyfully follows her. Gradually, it becomes unclear whether the world Saule is experiencing is entirely real.

Ainamkoz YEMZHAROVA 製作預算：US$41,259

故事大綱

兒子一家移居海外後，50 歲的 Saule 獨

自留在家中。一天早上，她發現一名陌生

年輕女子住進家裡，聲稱認識她的兒子，而一通視像電話似乎也證實了她的說法。這位陌生人雖然有禮卻保持距離，留下飯餸後隨即又回到工作中。日漸孤獨

的 Saule 某天看見女兒 Aigul 在窗外，欣喜地跟隨她離去。然而，她眼前的世界究竟是否真實，也逐漸變得模糊。

Director’s Statement

This story is inspired by my grandmother, Raya, who had dementia and gradually began confusing reality with the world her mind created. In Vedic teachings, people with a dominant Rahu planet, like my grandmother, may see what others cannot. One night, she believed we were at the cemetery where my grandfather and mother are buried. It made me wonder how she saw the world, and that became the heart of this script.

”

導演闡述

這個故事的靈感來自自己患有認知障礙症的外婆 Raya。隨著病情發展，她逐漸分不清現實與腦海中的世界。按照吠陀思想，像外婆一樣受羅睺星影響較深的人，或會看見別人無法看見的事物。一天晚上，她以為我們身處埋葬外公和母親的墓園。那一刻讓我開始思考，她如今眼中的世界是甚麼模樣，也成為這個劇本的核心。

Contact 聯絡

Ainamkoz YEMZHAROVA Email 電郵

emzharova@gmail.com

”

Director | Screenplay | Producer 導演 | 編劇 | 監製

Ainamkoz YEMZHAROVA

Ainamkoz is a Kazakhstani director, screenwriter and producer exploring memory, trauma, and embodied perception. A New York Film Academy graduate, her four short films have screened internationally, s“16 Days including Gulmira, presented with UN Women’ of Activism”campaign, and Qÿyrshaq, a top NYFA student film. She is developing her debut feature Birsen, mentored by Thibaut Bracq (La Fabrique Cinéma, Cannes).

Ainamkoz YEMZHAROVA 是哈薩克導演、編劇及監製，作品聚焦記憶、創傷與身份認同。她畢業於紐約電影學院，四

部短片曾於國際影展放映，包括曾與聯合國婦女署合作的

《Gulmira》，以及紐約電影學院優秀學生作品《Qÿyrshaq》，目前正開始籌備長片《Birsen》，並由Thibaut Bracq（康城影展 La Fabrique Cinéma）指導。 Producer 監製

Aruzhan DOSSYMKOZHA

Aruzhan Dossymkozha is a Kazakhstani producer and director based in Almaty. A Turan Film University graduate, she produced Joqtau (Locarno 2024) and Mugalim (San Sebastian 2026), and served as executive producer on Kazakh Scary Tales (2025). Her career began as line producer on Madina (Tokyo IFF). She teaches filmmaking at Turan and actively develops international co-productions. Aruzhan Dossymkozha 是哈薩克監製及導演，現居於阿

拉木圖。畢業於Turan Film University，曾製作《Joqtau》及

《Mugalim》，分別入選2024年盧卡諾電影節及2025年聖塞巴斯蒂安電影節，並擔任《Kazakh Scary Tales》（2025）的

執行監製。其職業生涯始於擔任《Madina》的執行製片。現於圖蘭任教電影製作，並積極籌劃國際合拍項目。

DAILY DIARY

日程表

18 Sep (Fri)

Welcome Introduction 09:00-09:45

Break 09:45-10:00

In Conversation: An Actor’s Life Speaker: Philip NG Wan-lung 10:00-11:00

Break 11:00-11:05

Panel: Making My First Film Speakers: CHAN Kin Long, Albert LEUNG, Harriet WONG, Norris WONG 11:05-12:05

Break 12:05-13:45 Masterclass: Anselm CHAN x Jack NG 13:45-14:45

19 Sep (Sat)

Panel: The Short Film Experience Speakers: Raymond RED, TANG Yi 09:00-10:00 Break 10:00-10:15

In Conversation: Short Films & Festival Strategy Speaker: Jukka Pekka LAAKSO 10:15-11:30 Break 11:30-11:45

Masterclass: REN Zhonglun 11:45-12:30 Lunch Break 12:30-14:00

Break 14:45-15:00

Panel: Directing Speakers: Anthony CHEN, Daming CHEN 14:00-15:00

Break 17:00-17:15

Mentor Session 15:15-18:35

Mentor Session 15:00-17:00 IFC Past Winner Screenings 17:15-19:15

Break 15:00-15:15

20 Sep (Sun)

Panel: Vertical Stories Speakers: Pengnan HU, WANG Kunlin 09:30-10:30 Break 10:30-10:40

Panel: Microdrama Speakers: Stephen LIU, Pengnan HU 10:40-11:45 Lunch Break 11:45-13:15

Demonstration: Salon Films Speaker: Salon Film Representative 13:15-13:45

Break 13:45-14:00

Mentor Session 14:00-15:30

Break 15:30-15:45

Pitching: Dress Rehearsal #1 Guest Panel: Janet WU 15:45-17:45

Dinner Break 17:45-18:30

Pitching: Dress Rehearsal #2 Guest Panel: Janet WU 18:30-20:30

21 Sep (Mon) Judging Panel #1 10:30-12:40

Lunch Break 12:40-14:00

Judging Panel #2 14:00-16:30

Happy Hour 18:30-19:15

22 Sep (Tue)

Panel: Festivals Speakers: Sabrina BARACETTI, Albert LEE, Thomas NAM 09:30-10:30

Break 10:30-10:45

Panel: Where is the Money? Speakers: Thomas BERTACCHE, Thomas NAM, Jacob WONG, Janet WU 10:45-11:45

Break 11:45-12:00

Panel: Artifical Intelligence Speaker: Serrino LIU 12:00-13:00

Lunch Break 13:00-14:30

Cocktail Reception 16:30-17:30

In Conversation: Fala CHEN x LAM Ka Tung 17:30-18:30 Awards and Closing Ceremony 18:30-19:15

Farewell Dinner 20:00-22:00

主辦機構 Organiser

指導單位 Patronages

贊助機構 Sponsors

支持機構 Supporters