MOViE MOViE Magazine #74 - IM GLAD I SPEND IT WITH YOU
IM GLAD I SPEND IT WITH YOU
MOV i E-MOV i E-MAGAZINE #74 FOR MOVIE LOVERS
PUBLISHER
MOViE MOViE
EDITORIAL DIRECTOR
PHOEBE CHIU
CREATIVE DIRECTOR
RENATUS WU (EDITED.HK)
CHIEF EDITOR
PINKY HO
EDITORS
ELAINE SHAM
ELFA HO
HONGYIN LUO
ENGLISH EDITOR
KEVIN MA
ILLUSTRATOR
JENNY TSOI
DESIGNER
RUSSELL PUN (EDITED.HK)
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一拳書館
MOViE MOViE 於 2012 年與觀
眾首次見面，將百老匯電影中 心的精髓帶到觀眾家中，成立 了只此一家的國際電影頻道及
串流平台，讓大家隨時隨地能
透過 Now TV ch116 或應用程 式，欣賞獨家首輪人氣猛片、國
際影壇得獎傑作，以至口碑載
譽不朽經典 看盡電影的美好。
隨後分別於 2017 年及 2020 年再 推出融入藝術、文化與生活概念 的戲院 MOViE MOViE Cityplaza
及 MOViE MOViE Pacific Place， 提供多元文化觀影體驗。以後不
論身處何方，看電影從此不一樣。
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
I’m a huge fan of the film The Worst Person in the World. A collaboration between director Joachim Trier and actress Renate Reinsve – who won Best Actress in Cannes for this film – the film delicately portrays struggles in love, self-identity and growth. Now, Trier and Reinsve have reunited for Sentimental Value, which will be released in Hong Kong cinemas soon. After winning the Grand Prix in Cannes, the film instantly became a sensation. It was even nominated for eight awards at this year’s Golden Globes.
While The Worst Person in the World focuses on contemporary women’s tug-of-war between love and self-identity, their hesitation towards marriage and childbirth, as well as the struggle between self and reality, Sentimental Value shifts the focus to family. In particular, it explores how the emotional connection between our parents and siblings influence our life choices. Even if familial relationships are inescapable, if someone is willing to make the leap to reexamine the emotional value we share with loved ones, a new possibility could open up.
Both films not only demonstrate Trier’s keen observation of human emotions; they also remind us that self-understanding and self-reflection can be forms of healing. This issue of MOViE MOViE Magazine and our TV channel are featuring a special “healing” section. Sometimes, seeing situations similar to our own in films allow us to release repressed emotions and process our feelings. Sometimes, we can feel like we are stepping into someone else’s life, learning to understand and forgive from a different perspective, and learning to reexamine ourselves. Film is more than just entertainment; it is a vessel for emotions. I hope that you will find resonance and healing in the films we have selected.
“Moving on, as a concept, is for stupid people, because any sensible person knows grief is a longterm project. I refuse to rush. The pain that is thrust upon us let no man slow or speed or fix.”
Following the Academy Award-nominated sensation The Worst Person in the World, Joachim Trier reunites with Renate Reinsve for this Cannes Grand Jury Prize winner.
Nora Borg is an established Oslo stage actress; her younger sister Agnes is her closest companion. The two grew up together after their once-renowned filmmaker father Gustav left the family years earlier. When Gustav re-enters their lives and attempts to cast Nora in his comeback film, old wounds bleed anew. Nora rejects his offer, prompting Gustav to cast American star Rachel Kemp, who gradually comes to realize she has unwittingly become part of a deeply personal film drama. Agnes, meanwhile, delves deeper into the family history as Gustav and Nora attempt rapprochement, revealing a past that threatens the fragile foundations of the family.
JT The story began with the rift and bond between two sisters. Later, the notion of the “absent father” entered the picture, and we realized we could construct a richer narrative. I wanted to explore what makes it so difficult for people to truly “see” their closest family members. Setting the father as a film director provided a unique perspective, allowing us to peel back the complex layers of communication within a family and touch upon the unspoken emotions present in so many households.
The core of the film seems to be this complex father-daughter relationship. It’s full of conflict, yet profound emotions flow beneath.
JT Yes, I believe the core is a kind of father-daughter love tinged with sadness. They can barely have a conversation without arguing because there are so many unresolved issues and unspoken words. I even borrowed from the “reunion” framework of American screwball comedies from the 1930s and 40s. This father-daughter relationship is a very important facet of the film.
IIL Agnes is the one trying to hold the family together. In childhood, it might have been her older sister Nora taking care of her, but now the roles are reversed. She loves her sister deeply, and it breaks her heart to see her struggle yet powerless to help. With the father, she is the one actively seeking connection, driven by an almost desperate longing.
RR Nora is trapped in her own anger and pain. Her personality is actually very similar to her father’s, which ironically makes normal communication impossible for them. Their conversations always turn into arguments because that’s the only mode of interaction they know. In the end, they can only find each other within immense sorrow – a complex feeling mixing loss with a deep connection, which is very moving.
The “house” in the film feels like a character itself, a vessel for memories. Could you talk about the significance of this setting and the experience of filming on location with the actors?
JT We wanted to open the film from a child’s perspective of a house, as most people have their own understanding of “home” The rooms in a “house” encapsulate layers of memories: different seasons, times of day, joys and sorrows. We even played with this idea: what if the adult sisters remember an essay they wrote as children, “If The House Could See Us”? This allows the house to become a subject in itself, subtly pointing towards a broader vista of human life.
RR That house was full of stories itself. We spent several weeks gathered there, immersing ourselves in the story’s atmosphere. We had many indepth conversations about what “belonging to a family” means to each person, sharing personal experiences and contemplating the characters’ situations. I believe all the actors found profound resonance within their own roles. The chemistry between the characters slowly built up during the rehearsals and filming.
What kind of chemistry did reuniting with Renate Reinsve and casting Stellan Skarsgård as the father bring to the story?
JT Working with Renate is always a pleasure. We actually started conceiving the entire story with Nora, the character she plays, in mind. Nora is a successful yet deeply lonely actor, a continuation of sorts of Julie from The Worst Person in the World. We were very interested in how to place this soul full of alienation into a family conflict. As for Stellan, the Gustav he plays appears on the surface as a narcissistic and comical absent father, but Stellan’s qualities endowed the role with warmth and dimensionality, allowing the audience to ultimately see this father’s vulnerability and transformation. This father and daughter clash fiercely, but they are extremely alike, resulting in tremendous tension.
JT Joachim Trier
RR Renate Reinsve
IIL Inga Ibsdotter Lilleaas
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標殺令：終極血腥版》
KILL BILL: THE WHOLE BLOODY AFFAIR
導演 director
昆頓塔倫天奴 quentin tarantino
演員 cast
奧瑪花曼 uma thurman
劉玉玲 lucy liu
薇薇卡霍士 vivica a. fox
米高美臣 michael madsen
戴露漢娜 daryl hannah
大衛卡拉甸 david carradine
劉家輝 gordon liu
KILL BILL: THE WHOLE BLOODY AFFAIR
適逢《標殺令》上映二十週年，這部昆頓塔倫天奴
的經典作將以《Kill Bill: The Whole Bloody Affair》 之名回歸大銀幕。今次特別將上下兩集二合為一， 並加入一段全新未曝光的動畫片段，一氣呵成地 將導演最初的構想重新呈現。
Quentin Tarantino’s Kill Bill: The Whole Bloody Affair unites Volume 1 and Volume 2 into a single, unrated epic presented exactly as he intended, complete with a new, never-before-seen anime sequence. Uma Thurman stars as The Bride, left for dead after her former boss and lover Bill ambushes her wedding rehearsal, shooting her in the head and stealing her unborn child. To exact her vengeance, she must first hunt down the four remaining members of the Deadly Viper Assassination Squad before confronting Bill himself. With its operatic scope, relentless action, and iconic style, The Whole Bloody Affair stands as one of cinema’s definitive revenge sagas – rarely shown in its complete form.
Science teacher Ryland Grace (Ryan Gosling) wakes up on a spaceship light years from home with no recollection of who he is or how he got there. As his memory returns, he begins to uncover his mission: solve the riddle of the mysterious substance causing the sun to die out. He must call on his scientific knowledge and unorthodox ideas to save everything on Earth from extinction… but an unexpected friendship means he may not have to do it alone.
1580 England. Impoverished Latin tutor William Shakespeare meets free-spirited Agnes, and the pair, captivated by one another, strike up a torrid affair that leads to marriage and three children. Yet as Will pursues a budding theater career in far-away London, Agnes anchors the domestic sphere alone. When tragedy strikes, the couple’s once-unshakable bond is tested, but their shared experience sets the stage for the creation of Shakespeare’s timeless masterpiece, Hamlet. From Focus Features and Academy Award® winning filmmaker Chloé Zhao (Nomadland, The Rider) comes a sensitively observed, magnificently crafted tale about the complexities of love and the healing power of art and creativity.
Set in modern-day Tokyo, an American actor (Brendan Fraser) who struggles to find purpose until he lands an unusual gig: working for a Japanese “rental family” agency, playing stand-in roles for strangers. As he immerses himself in his clients’ worlds, he begins to form genuine bonds that blur the lines between performance and reality. Confronting the moral complexities of his work, he rediscovers purpose, belonging, and the quiet beauty of human connection.
In the capital of Transylvania, Cluj-Napoca, Orsolya serves as a bailiff. She has to evict a homeless guy from a cellar one day, which has disastrous results and sets off a moral problem that Orsolya must try to resolve.
Portrait of an active bullfighting star, Andrés Roca Rey, which allows us to reflect on the intimate experience of the bullfighter who assumes the risk of facing the bull as a personal duty out of respect for tradition and as an aesthetic challenge. This challenge creates a form of ephemeral beauty through the material and violent confrontation between human rationality and the brutality of the wild animal.
慶祝國際婦女節，於 MOViE MOViE on Demand（Now TV） 上觀賞 MOViE MOViE 精心挑選的多部紀錄女性故事優秀 作品。法國「新浪潮之母」艾麗絲華妲細訴多年創作心路歷 程；文學巨匠維珍尼亞伍爾芙與詩人薇塔的動人情誼；改 編自戰地記者瑪麗科爾文勇闖戰火最前線的傳奇經歷及更 多佳作，一同在電影中感受 #Gurlpower！ 《 艾麗絲說華妲 》 VARDA BY AGNÈS
《 第一眼戰線 》 A PRIVATE WAR
《 司法女王 〉 ON THE BASIS OF SEX
《 星夢女神 ：茱地嘉蘭 》 JUDY
她和她的故事
《 巴黎影舞者 》 THE DANCER
JCCAC 的週六放映廠 2026 年 以「生活」為核心命題，與 MOViE MOViE 合作，挑選出六部當代劇 情片與藝術電影，引導觀眾遊走
於現實與內心的幽微時空，沉思 個體在社會與家庭關係中的困境 與轉化。
每月一場、僅限週六夜晚，我們 以大銀幕為媒介，讓影迷重溫光影 哲思，重新校準對存在的省思。
JCCAC’s monthly “Saturday Film” in 2026, the series continues its dedication to local cinephiles under the theme of “life.” In partnership with MOViE MOViE, JCCAC presents six contemporary narrative and art films: Parasite, Robot Dreams, The Farewell, The Weasel’s Tale, Swallow, and Greta. Screened once a month on Saturday evenings, the series sparks dialogue about the essence of life and the subtleties of the human heart on the big screen.
地點 VENUE
賽馬會創意藝術中心 L1 中庭 Central Courtyard, L1, Jockey Club Creative Arts Centre (JCCAC)
放映時間表 SCREENING TIMETABLE
《上流寄生族》 PARASITE
31 JAN 19:00
《別告訴她》 THE FAREWELL
《汪汪夢裡人》 ROBOT DREAMS
7 MAR 19:00
《吞上癮》 SWALLOW
28 FEB 19:00
《無定向喪心老友記》 THE WEASEL’S TALE
主辦 organiser
23 MAY 19:00
電影夥伴 movie partner
25 APR 19:00
《友誼永錮》 GRETA
免費登記入場 free admission
27 JUN 19:00
jccac 2026 節目巡禮 programme
DIRECTOR
DARDENNE BROTHERS
焦點導演：
戴丹兄弟
IN FOCUS: THE UNSENTIMENTAL HUMANISTS
see
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.
My fondest memory of watching a Dardennes Brothers film happened in 2014, at the Cannes Film Festival press screening for Two Days, One Night. Even though Cannes press screening audiences are notorious for giving harsh reactions to films they dislike, the Belgian brothers’ tale of an embattled working-class woman who rallies her co-workers to help her avoid layoff earned one of the most rapturous applause I’ve ever heard at a film festival screening. Even at what is arguably the world’s most glamorous film festival, the brothers’ stories of small-time working-class characters and social outcasts are frequently embraced and even awarded (eight of their films have won awards there, to be exact).
Years before they began making fictional dramas, Jean-Pierre and Luc Dardenne cut their teeth on documentaries about social issues such as immigration and labor action. So, it almost seemed natural that their fictional films would follow the traditions of cinema verité, employing techniques such as handheld cinematography and atmospheric sounds over traditional film scores to emphasize realism and authenticity.
Although the Dardennes’ established visual style make them staples of arthouse cinemas, what makes their films great isn’t their stylistic adherence to reality, but rather their sense of empathy. Their films almost seem designed to counter feelings of malaise and apathy that are exacerbated by our current age of excessive information. When media and influencers turn complex hot-button social issues into oversimplified narratives and rage bait for quick,
easy consumption by the general public, the Dardennes choose to put a human face on social issues like teenage pregnancy, labor struggles, religious radicalization and illegal immigration to remind us of a simple truth: Behind the statistics and news reports are real, normal people who are caught in impossible situations.
Though the brothers are too loyal to their cinema verité roots to do anything remotely close to a call to action (that’s more for their British counterpart Ken Loach, whose The Old Oak was co-produced by them), their films inspire empathy without being didactic because they are first and foremost gripping and morally challenging dramas. Even as docudramas, the climaxes of The Unknown Girl, Young Ahmed and Tori and Lokita are more suspenseful than most action films because the brothers also make us care about the characters in addition to the issues.
I truly saw the Dardennes’ empathy in action while watching their latest film, Young Mothers
A bittersweet ensemble piece about five young women living with their newborns in a center for young mothers, the film hit me especially hard near the end, when one of the mothers sees her baby smiling back at her before their separation. In true Dardennes fashion, the film portrays the young woman as merely someone who is trying to find her way in the world. She may be an imperfect mother, but her baby’s final display of unconditional love feels more like absolution than punishment. This brilliantly unsentimental display of sentimentality shows why the Dardennes are such great humanist filmmakers.
小編 P：有時候上網見到網友表示自己另一半 不夠黐身，我不會感建分，只會推薦他們看這 部電影。怎樣的黐身程度才合乎大眾標準？ （電視台播映版本沒有 AI 換臉 :D）
Years into their relationship, Tim and Millie (Dave Franco and Alison Brie) find themselves at a crossroads as they move to the country. With tensions already flaring, an encounter with an unnatural force threatens to corrupt their lives.
Following the death of his wife, a young father’s hold on reality crumbles as a seemingly malign presence begins to stalk him from the shadowy recesses of the apartment he shares with his two young sons.
小編 P：看傳統懸疑片的樂趣是一邊隨著劇情推 進，一邊猜誰是兇手。但 Knives Out 對我而言的 樂趣是每集的男角都令人很賞心悅目。
When renowned crime novelist Harlan Thrombey is found dead at his estate just after his 85th birthday, the inquisitive and debonair Detective Benoit Blanc is mysteriously enlisted to investigate.
A broker of lucrative payoffs between corrupt corporations and the individuals who threaten them breaks his own rules when a new client seeks his protection to stay alive.
