影《世外》作為 back cover，內頁更有導演及監製的 訪問；centrefold 有《他年她日》×本地插畫師小萊
Although MOViE MOViE is an international film channel, we are fully committed to supporting local Hong Kong productions. The back cover of this issue features the Hong Kong animated film Another World, and this issue features an interview with the director and producer.
The double spread features illustrations created by local artist SIULOY, made for and in collaboration with the film Measure in Love. In this issue of Life Behind Movies, we interviewed the stars of the film, Hsu Kuang-han and Angela Yuen, as well as director Kung Siu-ping, who share stories from the set and talk about their favorite movies. We also filmed reels with them that will be released soon on MOViE MOViE’s social media platforms, so stay tuned!
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所有文章內容僅代表作者個人 觀點及意見，並不代表本刊立場 the views, information, or opinions expressed in the magazine are solely those of the individuals involved and do not necessarily represent those of movie movie
Another World, originally a 14-minute short, took seven years to develop into a feature film. It won numerous awards and screened at the “Midnight Specials” section of the 2025 Annecy International Animation Film Festival in France, known as the “Oscars of Animation.” This marks the first Hong Kong animated film to be selected for Annecy since My Life as McDull in 2003.
While I was at this year’s anifest, I overheard a conversation between a producer and an art director. I was struck by the unwavering dedication that Hong Kong animators have in achieving their goals. Despite their small numbers, they’ve managed to create worldclass animated films. Their strength is truly remarkable, and it’s something we should all be proud of!
As for the romance-fantasy film Measure in Love, the director explained during the interview that it was filmed entirely in Hong Kong. Due to the film’s fictional setting and limited budget, finding suitable filming locations was difficult. Some of these locations were restricted areas or otherwise inaccessible, making filming a challenging process. Knowing that the film overcame these difficulties and has now been selected for the Busan International Film Festival is also truly inspiring!
Finally, I’d like to thank actress Natalie Hsu for being our guest editor on this issue and for designing costumes based on films featured on the MOViE MOViE channel! I’d also like to introduce the illustrator of this issue’s double spread, SIULOY. After graduating from Hong Kong Polytechnic University, SIULOY has since been working in the field of illustration. They have created illustrations for various music videos, concert videos and print publications. We have to support local Hong Kong productions so they can go even further than before!
Well, f*** this city, I’m moving to Saskatchewan. 前半句是真的，後半句是亂 的。一直準備好隨時 離開的心情，有時會想如果自己在柏林或阿姆斯特 丹是否會快樂很多，但仍然想和這裡的朋友緊密地 生活，然後做很多無謂嘢或有謂嘢。
本屆 anifest 由 MOViE MOViE 與香港亞洲電影 節合辦，並攜手第十二屆動畫支援計劃，匯聚了九 部風格迥異的海內外得獎動畫。開幕作品《愛美 麗的奇幻漫遊》（Little Amélie or the Character of Rain）以細膩筆觸勾勒出少女的異想世界，榮獲安 錫國際動畫影展觀眾票選獎，香港首映即掀起熱 烈迴響；而《第十二屆「動畫支援計劃」本地薑得 獎馬拉松》則以馬拉松形式放映三個組別的得獎 作品，不僅展現本地創作者的多樣化風格，更透過 映後交流讓觀眾深入動畫背後的靈感與堅持；閉 幕經典《天使之卵（4K 修復版）》（Angel’s Egg（4K Restored））上映 40 週年後，於康城影展「康城經 典」單元全球首映，以其超現實的視覺語言首次登 上香港大銀幕，吸引無數動畫迷朝聖。 再次感謝所有嘉賓、合作夥伴、動畫師與觀眾的 投入與支持。正是大家的熱情，讓 anifest 2025 成 為這個夏天最閃耀的記憶。動畫的旅程從未止步， 我們期待在下屆 anifest 與大家再次見面，繼續探 索動畫藝術的無限可能，見證更多創新的火花！
導演 director
朱浩偉 jon m. chu
演員 cast
辛西婭艾利沃 cynthia erivo
亞莉安娜格蘭德 ariana grande
已被妖魔化為「西方壞女巫」的艾芙芭（辛西婭艾 利沃 飾）隱居森林，持續為受壓迫的動物抗爭，並
試圖揭穿巫師的謊言；而格琳達（亞莉安娜格蘭
德 飾）則成為奧茲國的善良象徵，在翡翠城享受
榮耀。格琳達準備與費耶羅王子結婚，然而她與艾 芙芭的關係每況愈下，試圖調解卻失敗導致最終
決裂，牽連甚廣。
此時一位堪薩斯女孩意外闖入， 引發連串風暴，迫使這對昔日摯友在暴民圍剿下
最後一次聯手──她們必須真誠面對彼此，才能 改寫奧茲國的命運。
Elphaba (Cynthia Erivo), now demonized as The Wicked Witch of the West, lives in exile, hidden within the Ozian forest while continuing her fight for the freedom of Oz’s silenced Animals and desperately trying to expose the truth about The Wizard (Jeff Goldblum). Glinda (Ariana Grande), meanwhile, has become the glamorous symbol of Goodness for all of Oz, living in the palace in Emerald City and reveling in the perks of fame and popularity. Under the instruction of Madame Morrible (Michelle Yeoh), Glinda is deployed to serve as an effervescent comfort to Oz, reassuring the masses that all is well under the rule of The Wizard. As Glinda’s stardom expands and she prepares to marry Prince Fiyero (Jonathan Bailey) in a spectacular Ozian wedding, she is haunted by her separation from Elphaba. She attempts to broker a reconciliation between Elphaba and The Wizard, but those efforts fail, driving Elphaba and Glinda only further apart. The aftershocks will transform Fiyero forever and threaten the safety of Elphaba’s sister, Nessarose (Marissa Bode), especially when a girl from Kansas comes crashing into all their lives. As an angry mob rises against the Wicked Witch, Glinda and Elphaba will need to come together one final time. With their singular friendship now the fulcrum of their futures, they will need to truly see each other, with honesty and empathy, if they are to change themselves, and all of Oz, for good.
In Walt Disney Animation Studios’ Zootopia 2, detectives Judy Hopps (voiced by Ginnifer Goodwin) and Nick Wilde (voiced by Jason Bateman) find themselves on the twisting trail of a mysterious reptile who arrives in Zootopia and turns the mammal metropolis upside down. To crack the case, Judy and Nick must go undercover to unexpected new parts of town, where their growing partnership is tested like never before.
You Man-su (Lee Byung-hun), a specialist in paper manufacturing with 25 years of experience, is so satisfied with life that he can truthfully tell himself, “I’ve got it all.” While happily passing his days with his wife Miri (Son Ye-jin), their two children and two dogs, Man-su is suddenly informed by his company that he has been fired.
“We’re sorry. We have no other choice.”
Feeling shocked as if his head had been cut off by an ax, Man-su vows to find himself a new job within the next three months for the sake of his family. Despite his firm resolve to turn his life around, Man-su spends over a year drifting from one job interview after another, and working at a retail store. He eventually finds himself in danger of losing the very house that he struggled so hard to buy.
NO OTHER CHOICE
Desperate, he visits Moon Paper out of the blue and tries to hand over his CV, but he just ends up getting humiliated by line manager Choi Sunchul (Park Hee-soon). Man-su knows he is better qualified than anyone to work at Moon Paper, so he decides that he will force them to hire him by creating an opening.”
The world of Kabuki, the elaborately stylized Japanese theatrical tradition, sets the stage for director Lee Sang-il’s epic melodrama of artistic ambition, rivalry and betrayal. Based on a bestseller by Shuichi Yoshida, the film weaves in stunning stagings of classic Kabuki tales that wowed audiences at Cannes Directors’ Fortnight. In 1960s Nagasaki, after the death of his yakuza father, gifted teenager Kikuo (Ryo Yoshizawa) is taken under the wing of famed Kabuki actor Hanjiro Hanai (Ken Watanabe). However, the great performer already has a son, Shunsuke (Ryusei Yokohama), who has dedicated his life to the art. Over fifty years, the relationship of the two disciples entwines and twists, and their hearts suffer as much yearning, glory and downfall as their on-stage alter-egos.
An emo answer to an emo question: would anything change? Except language, culture, and food (Kana draws the far shorter stick in this scenario); I imagine these three would, upon the gradual realization of all that is unchanged, what surrounds us as ultimately reiterative paraphrases of what designed our initial miseries – Kana would remain on that pink-tinted treadmill looking in; a new creature of obsession would follow Wei Bu to Japan; Johanne, maybe, in a place far away from her first love, will be able to heal (as we all know, time and distance are surefire remedies for love pains) –continue to be, become even more, emo, I’m sure.
I can’t envision a greater relief from our problems than all that is implied by the word ‘escape’. The issue is that escape, in all cases either confuses it with distraction, or is accompanied by a looming return to all that breaks us in the first place, all cases except one.
True to its title, Miguel Gomes actually began “The Grand Tour” by taking most of the actual tour himself. After reading Somerset Maugham’s “A Gentleman from the Parlor,” Gomes wanted to make a film based on the book’s idea of a bride-tobe pursuing her cowardly groom. Before the script was even written, he took his cinematographer –Thailand’s Sayombhu Mukdeeprom – on a seven-week trip to capture 16mm film footage of countries that his characters would travel to, then he would shoot his actors on soundstages back in Europe. When the COVID pandemic prevented him from entering China to finish the trip, Gomes hired a local crew and directed them remotely from Lisbon two years later.
The result is a one-of-a-kind travelogue film that is impossible to categorize and impossible to imitate. Not only does it blend reality and fiction, it even blends past and present and different color schemes.
The story of the Grand Tour starts in 1918 in British-ruled Rangoon (now Yangon). British civil servant Edward is waiting for the arrival of his bride-to-be Molly. But just before she arrives, he gets cold feet and flees, first to Singapore, then to Bangkok, Saigon, Manila, Osaka and China. After we see Edward’s journey, Gomes shifts his focus to Molly, who decides to tenaciously pursue Edward across Asia against all odds.
While other filmmakers might depict this chase as a screwball comedy, Gomes sees it as what he calls a “dysfunctional screwball comedy” in which the two protagonists’ respective experiences matter far more than whether they meet again. Because of Edward’s timid personality, the quieter first half features much of Gomes and Mukdeeprom’s documentary footage, which shows modern Asia. When Molly enters the picture in the second half, the pacing comes alive as we realize that this spunky, enthusiastic woman is obviously too good for her cowardly fiancée. While Edward moves through each country in a melancholic mood, Molly takes in her journey and befriends people along the way, including housekeeper Ngoc (Lang Khê Tran, daughter of Vietnamese French filmmaker Tran Ahn Hung).
Though it sounds like Grand Tour might be more accessible than Gomes’ previous films, the filmmaker is interested in anything but traditional. The supposedly British protagonists speak Portuguese instead of English throughout (though the voiceovers are done in the languages of the various countries they visit), the fictional scenes are filmed on sets that look almost intentionally stagey, and the narrative has very little momentum beyond jumping from one country to another.
Gomes’ playful, unconventional style may seem almost improvisational to some, but Grand Tour is a work filled with fascinating ideas. In a sly criticism of colonialism, Gomes creates an intentional sense of dissonance to show that colonialists never truly understand the countries they occupied in the East. But even more so, Grand Tour seeks to inspire wanderlust by invoking cinema’s ability to capture the beauty of the exotic. The enigmatic ending –which I won’t spoil here – can even be read as a testament to the power of cinema.
Before going on Gomes’ grand tour, cinematographer Sayombhu Mukdeeprom made his mark as the go-to cinematographer of director Apichatpong Weerasethakul on beguiling films such as Palme d’Or winner Uncle Boonmee Who Can Recall His Past Lives and Syndromes and a Century. This month on MOViE MOViE, catch Mukdeeprom’s mesmerizing work in Weerasethakul’s Memoria. Shot entirely in Colombia, the film stars the radiant Tilda Swinton as a woman who goes into the jungle in search of a mysterious booming sound that only she can hear. Captured in distant long takes that are meticulously framed, the acclaimed film is undoubtedly one of Mukdeeprom’s most defining career achievements.
GRAND
TOUR
Kevin Ma is a writer and English subtitler in the film industry, and the Hong Kong Consultant for Italy’s Udine Far East Film Festival. He was an English Editor at YesAsia. com and the Entertainment Editor of Cathay Pacific’s inflight magazine. He has contributed to publications by the Asian Film Awards. South Korea’s Bucheon International Fantastic Film Festival, Poland’s Five Flavours Film Festival, Hong Kong International Film Festival, Hong Kong Asian Film Festival and the Hong Kong Film Archive.
kevin ma
DREAMS (SEX LOVE)
《同夢奇緣之夢》
《同夢奇緣之夢》中的 女性情欲思辯
文／李薇婷
挪威小說家兼編導達約翰侯格勞（Dag Johan Haugerud）的「同夢奇緣三部曲」的最後一部。《同 夢奇緣之夢》（《同》）入選第七十五屆柏林影展主 競賽單元，並獲得金熊獎。
這次他拍的是女同志師生戀。少女 Johanne 身 處成長關鍵年期，卻又無法像閨密們般和男生相 戀。困惑之際，她對新來的法國老師 Johanna 見鍾情。她開始接近和想像自己和老師可能發生 的一切。從戀愛中，少女經歷啟蒙，從情傷與掙扎 中體驗了專屬於自己的成人禮。
Despite what began as a shocking and scandalous affair 20 years ago, Gracie (Julianne Moore) and the much younger Joe (Charles Melton) now lead a seemingly picture-perfect suburban life. Their domestic bliss is disrupted when Elizabeth (Natalie Portman), a famous actress, arrives in their tightknit community to research her upcoming role as Gracie in a film. As Elizabeth ingratiates herself into Gracie and Joe’s lives, the uncomfortable facts of their scandal unfurl, causing long-dormant emotions to resurface. In May December, director Todd Haynes (Safe, Carol) explores one of the great talents of the human species: our colossal refusal to look at ourselves.
The Feeling That the Time for Doing Something Has Passed
Ann, a morose New Yorker in her 30s, feels stuck in all areas of her life. To her dismay, the years have gone by quickly in her long-term casual BDSM relationship, low-level corporate job, and quarrelsome Jewish family. As she begins to feel increasingly alienated, she wrestles with herself and her relationships in this self-deprecating autofictional comedy and feature debut from writer/ director/actor Joanna Arnow. Cannes Directors’ Fortnight.
The fundamental question of what “sex” truly is remains ever-present in our minds. Is it merely desire, or is it something that defines us? Is the act of sex a means of possessing another’s body, or is it a yearning for intimacy when our bodies collide?
In the first instalment of Dag Johan Haugerud’s Sex-Dreams-Love Trilogy, these questions are explored by two heterosexual married men who undergo unexpected experiences that challenge their perceptions of sexuality, gender and identity. One, in his bewildering dream, encounters David Bowie, gazing at him as if he is a woman. The other has a sexual encounter with another man, without considering it either as an expression of homosexuality or infidelity as long as he is being honest with his wife. Both begin to strip away the masks imposed by society, liberate themselves from conventional morality, and embark on a journey to uncover the unspoken truths behind sexual desire. Panorama, Berlin International Film Festival.
In Love, the conclusion of Dag Johan Haugerud’s Sex-Dreams-Love Trilogy, middle-aged doctor Marianne finds herself drawn into a world of spontaneous intimacy after following a suggestion by her colleague, Tor. To understand the most ambiguous concept of love, they navigate their respective relationships, Marianne with a divorced geologist and Tor with an older man confronting his past. Through intimate company, endless conversation, and gentle compassion, they contemplate the nature of love. Set against the vibrant backdrop of Oslo, the film celebrates individualism while redefining love in a modernized world. In competition, Venice Film Festival.
Levi, a British expat diver living in the British Virgin Islands, has been searching for most of his adult life for the wreck of the USS Charlotte, a US navy ship which was torpedoed in WWII and has since been lost without a trace. His obsession has taken its toll on his personal life and his business. He is assisted by Noah, a US college graduate and experienced diver. Noah reminds Levi of himself many years earlier and has his own struggles between lifestyle and love to work out.
The film opens as Noah finds the Charlotte, pristine and newly emerged from beneath the sand for the first time in seventy years after a tropical storm. At the same time, a group of Noah’s college friends converge on Levi’s island bar and dive shack, meeting up for the first time in a couple of years. The meeting exposes the tensions between them as their lives have moved in different directions since graduating.
The film follows the friends as they persuade Noah and Levi to take them on one once-in-alifetime dive on the newly discovered wreck before it’s handed over to the authorities. However, the dream dive rapidly turns into a nightmare as the friends become trapped in the darkness of the Charlotte’s interior, 30 meters underwater and with a dwindling air supply. And then they discover they are not alone.
Parthenope, born in the sea of Naples in 1950, searches for happiness over the long summers of her youth, falling in love with her home city and its many memorable characters. From Academy Award-winning filmmaker Paolo Sorrentino comes a monumental and deeply romantic story of a lifetime. This tale is a no-holds-barred exploration of the relentless pursuit of freedom, the insatiable love for a city with countless faces, and the myriad forms of love itself – some uplifting, some destructive, some kept secret. In Competition, Cannes Film Festival.
In pursuit of a serial killer, an FBI agent uncovers a series of occult clues that she must solve to end his terrifying killing spree.
Longlegs
《大叔夢中人》
DREAM SCENARIO
導演 director
kristoffer borgli
演員 cast
尼古拉斯基治 nicolas cage
獨家首播 EXCLUSIVE PREMIERE
26.10 (SUN) 22:00
27.10 (MON) 23:45
大熱問鼎金球影帝，《奇異女俠玩救宇宙》製作公 司 A24 玩轉超現實荒誕話題作，奧斯卡影帝尼古 拉斯基治化身廢佬阿 Paul 亂入你個夢！零存在感
大學教授阿 Paul 一夜間成為數百萬陌生人的夢中 人，死板大叔突然成為爆紅熱搜冠軍，各大品牌蜂
擁而來，甚至總統奧巴馬也想一沾阿 Paul 人氣， 自始成就人生「癲」峰？眾人的夢卻越發奇怪，夢 中阿 Paul 行為思想竟開始過份，全城腦作夢境， 成為玩謝阿 Paul 的噩夢！ 夢中人，隨時激起一股 震撼，今晚，你還想他走進你內心？
Hapless family man Paul Matthews (Nicolas Cage) finds his life turned upside down when millions of strangers suddenly start seeing him in their dreams. But when his nighttime appearances take a nightmarish turn, Paul is forced to navigate his newfound stardom.
Cinema devotee Mort Rifkin (Wallace Shawn) accompanies his publicist wife Sue (Gina Gershon) to the San Sebastian Film Festival in Spain, worried that her fascination with her young director client, Philippe (Louis Garrel), might be more than professional. In addition, Mort hopes the change of scenery will provide a respite from his struggle to write a first novel that lives up to his impossibly exacting standards. Turned off by the lavish praise showered on Philippe’s film, which he considers banal, Mort becomes preoccupied with the cinema classics he once taught as a professor, by masters like Bergman, Fellini, Godard, Truffaut and Buñuel. Mort’s mood lightens when he meets Dr. Jo Rojas (Elena Anaya), a kindred spirit whose marriage to tempestuous painter Paco (Sergi López) is also causing her pain. While Mort’s personal tastes have sometimes pushed people away, Jo’s intellect and shared sensibility draw them closer together. While Sue spends her days with Philippe, Mort’s relationship with Jo deepens and he rekindles his love for classic films.
Portuguese auteur Miguel Gomes takes a beguiling and otherworldly sojourn in this globe-hopping experimental travelogue. Conceived during Gomes’ trip across Asia with cinematographer Sayombhu Mukdeeprom, the film mixes time periods, styles and even colours to create a giddy ode to cinema. The action begins in 1918 in Burma, where British civil servant Edward waits for his fiancée Molly to join him for their wedding. When Edward suddenly gets cold feet, he makes an epic escape, hopping from one Asia country to another – with Molly right on his trail.
The commandant of Auschwitz, Rudolf Höss, and his wife Hedwig, strive to build a dream life for their family in a house and garden next to the camp. Blissfully ignorant to the sound of gunshots and howls, and the sight of flames and ashes from next door, their seemingly peaceful domestic life appears to have nothing to do with evil.
Based on the novel by Martin Amis, the film delivers a chilling commentary on the banality of evil with riveting visual and sound design.
In Los Angeles, Henry is a stand-up comedian with a fierce sense of humor; Ann is a singer of international renown. In the spotlight, they are the perfect couple, healthy, happy, and glamourous. However, the birth of their first child, Annette, a mysterious girl with an exceptional gift, will change their lives. Best Director, 2021 Cannes Film Festival.
For the first time, Johanne has fallen in love. However, the object of her affection is her teacher. To preserve her feelings, she documents her emotions and experiences in writing. When her mother and grandmother read what she has written, they are initially shocked by its intimate content, but they soon see that it has literary potential. As they debate whether to publish it, Johanne navigates the gap between her romantic fantasy and reality, and all three women confront their differing views on love, sexuality, and selfdiscovery. Part of the Sex-Dreams-Love Trilogy of Norwegian novelist and writer-director Dag Johan Haugerud, the tender coming-of-age tale won the Golden Bear at the Berlin International Film Festival.
