The Hong Kong Film Awards Best Film goes to "To Me When I Was Nineteen"

The Hong Kong Film Awards Best Film Award goes to "To Me When I Was Nineteen", which seems to be expected. Now everything in Hong Kong has fallen into the binary opposition of black and white. Everything is a struggle. The more you oppose, the more the other party agrees, let alone avoiding suspicion. Under the melon field, an award ceremony is sponsored by the government. The director of the winning film is an important member of the funding agency. I am the one who organized and judged it. How can you let me play with it?

I am not very talented, but I still remember that when I was studying film, my teacher once taught me how to shoot a documentary. Even if the other party signed a consent form but did not want to make it public at the last moment, we must not make it public. This is professional ethics and personal ethics, and we must respect it. The so-called "artistic value" of the photographed person is worthless in front of "life".

The famous Polish film director Kieslowski (Hong Kong translation: Kieslowski) switched from documentaries to feature films because of his personal self-reflection on documentaries and realized that documentaries have a great impact on the lives of the subjects. In his autobiography "Kishlawsky on Kishlawsky", there are many profound descriptions of the documentary.

"In my opinion, documentaries should not impact the lives of their subjects, for better or worse, they should not have any impact at all."

"The doctors were so open and we became such good friends that they didn't realize we were there, which was the whole point of the documentary taking so long to film, but no one knows that, especially not the TV reporters these days. They come, stick a microphone on the tip of your nose and ask you to answer questions, and you may answer smartly or stupidly, but that’s not revealing who you really are.”

"Not everything can be described. This is the biggest problem with documentaries. It seems to fall into its own trap. The closer it gets to someone, the more that person wants to stay away from it. This is normal and cannot be controlled at all. If I was making a romance film, I wouldn't go into a room where people were having sex; if I was making a film about death, I couldn't film someone who was really dying, the experience is so intimate! ... I'm afraid of people who are really dying. Tears, in fact, I doubt whether I have the right to film them. At this time, I feel like I am in a kingdom without borders. That is the main reason why I escaped from documentaries.”

The true fall of Hong Kong lies in the hearts of the people.