ABOUT MOViE MOViE 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 ch 116 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
A photograph of a yellow space posted on the internet has unexpectedly sparked a huge reaction. What began as an oddball idea on an internet forum has spawned into a “creepypasta” (a viral horror-related legend) with a massive following and now a film produced by A24. The surreal space was the brainchild of Kane Parsons, who created Backrooms, a YouTube video series that is brimming with an atmosphere of oppression and disorientation. The videos resonated with netizens so much that they not only let the concept continue to develop, but also built a vast fictional world around it.
Some think that the concept of Backrooms stemmed from people’s despair and fear of the unknown — an emotion that has never been far removed from real life. We, too, often fear things that are unknown, such as the uncertain future. The rapid pace and pressure cooker environment of modern society leave many feeling lost and lonely. The familiar, yet eerie yellow room in the film can be seen as a metaphor for reality, representing the mundanity and monotony of everyday life. We live in repetition, doing similar things every day, as if we are trapped in an infinite yellow space with no way out.
Films have never been merely fiction; they are mirrors reflecting life. They expose us to our inner fear and attitude towards life, thus prompting profound reflections on existence.
Produced by A24 and adapted from the global urban legend with over 200 million views, the highly anticipated horror film Backrooms is set to hit Hong Kong theaters on June 6. Bringing the deeply unsettling internet meme to the big screen, the film crafts a suffocating atmosphere of retro aesthetics and claustrophobia.
The story follows Clark (Chiwetel Ejiofor), a furniture store owner who accidentally discovers that a basement wall leads to a mysterious, liminal space. Amidst dim lighting, peeling yellow wallpaper, and the constant hum of fluorescent lights, an endless maze of corridors and stacked furniture unfolds. His therapist, Mary (Renate Reinsve), ventures into this “yellow labyrinth” following clues to find a missing patient, only to encounter a series of bizarre events as an unknown terror quietly takes hold.
In a high-rise building in downtown Seoul, there is a mass outbreak of an unknown infection. Within no time, the building is sealed off, and the people inside are trapped.
The infected, after first crawling on all fours like beasts, gradually evolve and begin moving on two feet. Before long they start to identify the survivors and make coordinated group attacks.
Biotechnology professor Kwon Se-jeong and several other survivors manage to find Suh Youngchul, who claims to have injected himself with a vaccine, and head to the roof where a rescue team is waiting.
However, as they make their way upwards, the situation becomes ever more precarious, and Suh Young-chul uses the infected to block the group’s path…
In a small Southeast Asian country, skilled martial artist Wang Wei’s daughter Rainy is abducted by a child trafficking ring. Wang Wei sets out on a rampage, confronting both the corrupt police and the criminals. Determined to rescue his kidnapped daughter, he encounters Navin, a journalist tirelessly trying to solve his wife’s recent disappearance. Together, the two unleash their formidable combat skills, fighting their way through determined opponents and dangerous obstacles to unravel crucial clues. Just in time, they successfully rescue Rainy and a group of innocent children, dismantling the notorious human trafficking syndicate and bringing justice to the exploited and vulnerable.
An influencer couple staged a harmless prank in pursuit of clicks and likes. Little do they know, their little escapade has gone out of control and spiraled into a real tragedy. A series of accidents, followed by blackmails and Extraterrestrial Encounters somehow echo and unveil the myth of a myterious child disappearnace 25 years ago!
A group of five, a chain of bizzare events, layers of schemes and plot twists. It’s all-you-canexperience in One Crazy Night!
Two years after losing their son Kakeru, Otone and her husband Kensuke take into their lives a humanoid from a company that rents humanoids to bereaved families as replacements for lost loved ones. The robot looks and behaves exactly like Kakeru, with Otone embracing its arrival as Kensuke struggles to accept it. Living with “him” seems to restore the flow of time within the family, yet gradually exposes the unspoken wounds and lingering regrets each parent carries after the loss. All the while, he begins to slip away to meet other humanoid children, unnoticed by the parents.
Family reunion dinner hits different when you grow up — Cringe as you rehearse the conversation in your head a thousand times before turning the knob, and putting on a show.
Indie legend Jim Jarmusch brings together a star-studded cast featuring Adam Driver, Cate Blanchett, Charlotte Rampling, among others, to deliver a deadpan and heartwarming family drama that clinched the Golden Lion at the Venice Film Festival. The three stories all concern the relationships between adult children, their somewhat distant parent (or parents), and each other. Each of the three chapters takes place in the present, and each in a different country. FATHER is set in the Northeast US, MOTHER in Dublin, Ireland, and SISTER BROTHER in Paris, France. Echoing the episodic structure of his early classics, the film captures the delicate dance of modern relationships, at times intimate and at times distant, shaped by tentative steps and the unexpected warmth that hits you hard and soft.
FATHER MOTHER SISTER BROTHER
希臘神話
知多少？
對於希臘神話故事《奧德賽》，你知道多少 呢 ?《奧德賽》是西方文學最古老且完整的 長篇冒險故事之一，3000 年前由詩人荷馬 （Homer）編寫。《2001 太空漫遊》（2001: A Space Odyssey）其名字概念正是取自這場 艱辛歸家之路。
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.
May means it’s once again time for the Cannes Film Festival. Attracting the world’s top filmmakers, Cannes is one of the very few film festivals whose competition is treated like spectator sport, prompting intense speculation among film critics, journalists and envious film geeks who pore over critic jury grids and the length of standing ovation. The latter may be an overrated marketing gimmick in my humble opinion, but the obsession over Cannes is not entirely absurd — for better or worse, the festival wields major influence over the global film industry landscape for the rest of the year.
This year, all eyes are on Japan. The “Country of Honor” of this year’s festival has a whooping three films in the festival’s main competition for the first time in 25 years. It kicked off with director Koji Fukada, finally promoted to competition with his fourth Cannes official selection Nagi Notes, a drama about an architect who reunites with her former sister-in-law in a rural town. Meanwhile, former Palme d’Or winner Hirokazu Kore-eda returns to the competition for the eighth time with Sheep in the Box, a sci-fi tale about a grieving couple who brings home a humanoid robot after the death of their son. Last but not least, Ryusuke Hamaguchi hopes to repeat Drive My Car’s Cannes success with All of a Sudden, a France-Japan co-produced drama about a French nursing home director whose life is changed when she meets a terminally ill Japanese playwright.
There are also two Japan-set films in the Un Certain Regard competition: Yukiko Sode’s All the Lovers in the Night and Konstantina Kotzamani’s Titanic Ocean
Other major names in the competition include Romanian New Wave pioneer Cristian Mungiu, whose drama Fjord explores the tension between an immigrant family and locals in rural Norway; Spanish legend Pedro Almodovar, who delves into the moral implication of autofiction with Bitter Christmas; Iran’s Asghar Farahadi, whose second French production Parallel Tales is a modern remake of an episode of Krzysztof Kieślowski’s Dekalog; and Polish auteur Pawel Pawlikowski (Cold War), who chronicles the twilight years of writer Thomas Mann with Fatherland. In addition to arthouse films, the Midnight Screening section also features thrilling genre films. Twelve years after premiering Train to Busan at the festival, Korea’s Yeon Sang-ho returns with Colony, another reinvigorating take on the zombie genre that will surely be another box office smash for the director.
Outside the main festival, the Director’s Fortnight sidebar program features The Diary of a Chambermaid by Romania’s Radu Jude (Bad Luck Banging or Loony Porn), Vertiginous by the eccentric Quentin Dupieux, and Double Freedom by Argentine slow cinema auteur Lisandro Alonso (Jauja). Over at Critics’ Week, the program for first and second-time filmmakers that launched modern classics like Aftersun, Raw and The Lunchbox, this year’s edition includes Zou Jing’s A Girl Unknown, the sole Chinese-language feature film in Cannes this year; Alive, the directorial debut of Spanish actress Aina Clotet; and Station, a Yemeni film that has received rave reviews. Because of word limit and this piece being written before the end of the festival (that’s publishing deadline for you), I have barely scratched the surface of the films premiering at Cannes this year. However, I can say with confidence that any cinephile with their finger on the pulse of world cinema will be hearing about these and all the other Cannes official selections plenty more times in the coming year — just don’t worry about how long the standing ovations were.
KEVIN MA
Life Behind Movies With Peter Chan
《IT 狗》中湖水藍毒男「男 B」，甚至是《命案》中的 變態。Peter 似乎很擅長扮演這種帶點 loser 氛圍 的非典型主角甚至的，賦予這些平凡角色靈魂與 鮮活的生命力，讓我們在銀幕前彷彿看見了自己。 《UFO 離奇命案》中「阿金」一角為他帶來了金像 獎提名，他亦橫跨多個媒界，包括為即將在 MOViE MOViE 頻道上線的《出精特攻隊》配音。讓我們一 同透過專訪，了解 Peter 背後的心路歷程。
作為中國第五代導演之一，張藝謀的作品橫跨了早期文藝片風格、對 中國鄉土人情的描繪，聚焦於小人物的故事及生活，到近年來更注 重宏大敘事及對快節奏掌控的大製作商業電影，展現其多元的風格 與對不同題材的精準拿捏。回顧導演生涯不同階段之作，於 MOViE MOViE（Now TV ch 116）上觀賞多部精選張藝謀作品，重新回味其 作品之初衷及演變。
In summer, Nagisa, a woman from the city, and Natsuo, a young man visiting his relatives, meet by the sea. Their vacant gazes reflect each other as they exchange awkward words and wade into the rain-drenched ocean. In winter, Li, a screenwriter in a creative slump, travels to a snow-covered village with an old camera left behind by a late acquaintance. There, she finds a peculiar, desolate guesthouse run by the enigmatic Benzo. Their conversations rarely connect, yet they set off on an unexpected adventure. Based on two stories by Yoshiharu Tsuge, Sho Miyake’s Golden Leopard winner humorously captures the primal joys of journey and the quiet absurdity of being human through striking landscapes, fleeting encounters, and inexplicable moments of oddity.
A father and his son arrive at a rave deep in the mountains of southern Morocco. They’re searching for Mar — daughter and sister — who vanished months ago at one of these endless, sleepless parties. Surrounded by electronic music and a raw, unfamiliar sense of freedom, they hand out her photo again and again. Hope is fading but they push through and follow a group of ravers heading to one last party in the desert. As they venture deeper into the burning wilderness, the journey forces them to confront their own limits. Nominated for the Oscar for Best International Feature Film and Best Sound. Winner of the Jury Prize, the Soundtrack Award, and the Palm Dog Award at Cannes Film Festival.
A drifter who sleeps with truckers meets a reserved driver and joins him hauling freight across northern Mexico. As they grow closer on the road, the drifter’s past threatens them both.
A remote German farm harbors generations of secrets. Four women, separated by decades but united by trauma, uncover the truth behind its weathered walls.
In 1937, at the peak of Stalin’s Great Terror, an idealistic young prosecutor Kornyev answers a plea for help with a blood-written note smuggled out of a prison block and demands access to a political prisoner. After considerable resistance, he gains access to the prisoner. He then realizes that the authority destroys not only enemies of the state but also the most ardent supporters of the Soviet idea. Adapted from Georgi Demidov’s novel, the film won the François Chalais Prize at Cannes Film Festival.
In 1977, Brazil’s political regime was corrupt, governance lay in ruins, and evil flourished. Marcelo is a university professor who dares to fight against the system, only to find himself hunted by assassins. During Carnival week, he flees to Recife, hoping to reunite with his family under a new identity. As he finds way to move forwards, the fatal threat looms even closer. Each day, the Carnival death toll rises. A human leg is found inside a great white shark; corpses lie unattended on the roadside; a maid is silenced while pleading for justice for her daughter. In the world of absurdity and madness, Marcelo unravels the dark and twisted curtains one-by-one. Can he escape and survive?
A middle-class family’s fate becomes intertwined with their only son’s enigmatic new friend in post one-child policy China, putting unspoken secrets, unmet expectations, and untended emotions under the microscope
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