Known for his documentary films and involvement in gay rights movement, Mickey Chen shocked the literary world by publishing, in 2011, Taipei Dad, New York Mom, an autobiography about his torn-apart family and his life as the gay eldest son. Since he passed away in December 2018, this documentary film of the same name was left unfinished but shows enough promise and paints a heartbreaking portrait of his troubled family.
Mickey Chen was a filmmaker, writer, and pioneer of Taiwan’s queer cinema. His debut documentary feature Not Just a Wedding Banquet competed at Yamagata 1997. His Boys for Beauty (1999) was the first LGBT documentary released in Taiwanese cinemas.
Cast｜Jun Leung, Sam Ho, Clifford Tsang, Ko Hon Man
Cinematographer｜Lee Chik Hei
Region｜Hong Kong, China
Production Company｜Keep In Touch Production
Ricky and Roger lived together and fell in love with each other for more than 40 years. Roger passed away recently, and every time Ricky tidies up their bed, memories flood him from every corner and at every touch. Inside a drawer, he found two red envelopes given to Roger by Ricky’s parents nearly half-century ago, on the day Roger spent the 1st Chinese New Year dinner with Ricky’s family…
A flashback shows the love story between Ricky and Roger, from Ricky’s coming out and the disapproval of his family, to the time he met with Roger. The story re-imagines a future for us: in 2029, Hong Kong passed same-sex marriage legislation, Ricky and Roger and two other lesbian couples become the first registered same-sex married couples in Hong Kong. Ricky’s parents gave them their own wedding rings as a blessing, the best proof of acceptance from the heterosexual parents to his queer son and his partner. The film carries on as an ordinary and fairy-tale-like story, a future a lot of queer people desire but struggle to imagine due to stigma and discrimination. Forever 17 tells us that a lifelong queer relationship comes to existence through love and care, betrayal and forgiveness, pain and recovery, death and survival, inheritance and eternity, and honouring mutual commitments.
Kit Hung (IMDb) is a lecturer at the Film Academy, Hong Kong Baptist University. Graduated with Master in Fine Arts at the School of the Art Institute of Chicago, he is currently undertaking a research degree studies in the Department of Media and Communications at the Goldsmiths College, University of London. He is an award-winning director with his films screened at over 100 international film festivals. His short films “invisible people (有人)” and “I am not what you want (天使)” premiered at the Rotterdam International Film Festival and received awards from festivals in Hong Kong. His first feature film “Soundless Wind Chime” has won 6 international awards and was nominated for the Teddy Awards at Berlin Film Festival, released in 14 countries in 6 different languages. He also received Best Director and Best New Director awards in Spain and Italy.
Forever 17 is the first part of the “Fire Work” (working title) trilogy. The film is dedicated to two honourable queer icons from Hong Kong, actor and singer Leslie Cheung (张国荣), and singer and friend Ellen Loo (卢凯彤), who died of suicide. The queer community in Hong Kong must free themselves from the sorrow of their death, and build a brighter future together: we can grow old together with our life long partners, we can lead a life without fear and discrimination, and that we can feel as, and actually be a part of the society.
“A simple, ordinary life” seems to be easy to achieve but, unfortunately, that is only true for “the ordinary”, heterosexual people. Forever 17 put queerness into an ordinary life looks forward to. We have always been stigmatized as “the others” and “the different”, and we do not fit within the normality of social expectation. In Hong Kong, seldom do we see queer couples on the street or media, let along those, together, growing old and facing challenges of maintaining long term relationship. Forever 17seeks to tell that lost story for the LGBT community, envisioning a more open and brighter future for us.
In the night, she is the gorgeous, dignified, acrimonious, cowardly, malicious, self-interested, bashful, unfortunate, amorous, matriarchal and bullheaded Madame Bilan de Linphel. In the day, he is a tailor, who is fast talker. He often goes to the city’s gays strongholds—parks and bathhouses—in search of stories – to meet by chance, flirt, make love, eat. Tailor said he was born to love men.
In Tailor’s eyes, his parents are unfortunate, his childhood, dull and without a sense of security. After growing up, Tailor funded his journey to Guangzhou on the meager income he earned as tailor. He went to realize his dream: to be a highly sought-after
“gigolo.” Indeed, he ran across some men who made their indelible marks—whether it was in Beijing or Guangzhou. He was young at that time.
Madame Fan Qihui has two identities: a talkative tailor, an indolent Bilan de Linphel. With a pop-infused flavor, a dissolute Madame Bilan de Linphel-cum-tailor lament the unseemliness of their dual identity. In the darkness of the stage, the desolate
Bilan de Linphel is the tailor’s elegy incarnate.
Qiu Jiongjiong is an artist who works across two strands: independent film and painting. His films include two short films, Ode to Joy (2008) and A Portrait of Mr. Huang (2009), and five full-length films, The Moon Palace (2007), Madame (2010), My Mother’s Rhapsody (2011), Mr. Zhang Believes (2015), and A New Old Play (2021). From Mr. Zhang Believes to A New Old Play, he has completed the transition from the early narrative-based documentaries to feature films. The family history of Qiu’s hometown, Leshan, Sichuan, and his Sichuan opera family are recurring motifs in his films, and the Sichuan dialects are also important factors in the unique aesthetic and narrative structure of his films. The uniqueness of Qiu’s films is closely related to his identity as a painter. From his script, which is based on a large number of script, to his highly manual production methods, there are always a remaining Painterly style, which provides a physical temperature that is worth gazing at and watching again and again.
Qiu Jiongjiong’s early films have been selected as among the top-ten films in China Independent Film Festival more than once. Mr. Zhang Believes was selected for the 68th Locarno International Film Festival, the 15th MoMA Doc Fortnight, and the 40th Hong Kong International Film Festival. Qiu’s first feature film, A New Old Play won the CNC Cash Award at the Taipei Golden Horse Film Project Promotion, the Hubert Bals Fund Script and Project Development in the International Film Festival Rotterdam, the White Light Post-Production Award at the Hong Kong – Asian Film Financing Forum during the project pitching session. The film was screened at the 74th Locarno International Film Festival and won the Special Jury Prize.