Hong Kong
MCL Cinemas
Organised by the Asian Film Awards Academy with the support of the Hong Kong Creative Cultural Industries Development Agency (CCIDAHK) and the Hong Kong Film Development Fund, and with MCL Cinemas as venue partner, Asian Cinerama: Growing Light ran successfully from August 30 to September 12, presenting an inspiring two-week programme of screenings, filmmaker talks, and university events that celebrated the creativity and diversity of Asian cinema.
The first week, held from August 30 to September 1, featured screenings of Secret: Untold Melody, At the Bench, and Blue Gate Crossing, along with a university talk. Korean director Seo You-min and Japanese director Yoshiyuki Okuyama joined the events in person, engaging audiences and students in lively discussions and heartfelt exchanges.
On August 30, Seo You-min presented her film Secret: Untold Melody. A longtime fan of the original, Seo admitted to feeling pressure when taking on such a beloved story, even travelling to Tamsui, Taiwan, to better capture its atmosphere. She explained that EXO’s D.O. (Do Kyung-soo) was her first choice for the lead: “He is an excellent musician with a pure and charming presence.” Audiences praised her delicate, modern adaptation, and many fans stayed after the screening to meet her, with some travelling from as far as Xiamen for the event.
On August 31, Yoshiyuki Okuyama joined the screening of his debut feature At the Bench. Asked why he chose to shoot on film, he explained, “In the digital era, I want to preserve the beauty of analog.” The film consists of five stories, each carefully crafted with screenwriters to feel like everyday moments, from a man at a sushi bar to a girl holding flowers. Okuyama said he hopes audiences don’t just feel intense emotions at the cinema, but also find meaning in the ordinary — with playful twists that highlight the contrast between the familiar and the unexpected. He shared that his favourite moment was the final scene: “When I wrote it, I had a picture in mind, but the actors’ performances went far beyond what I imagined. I was truly moved.” As a photographer-turned-filmmaker with a strong following, Okuyama drew many fans who stayed behind for photos and autographs.
On September 1, the Hong Kong Baptist University Film Academy and the Asian Film Awards Academy co-presented the first “Asian Filmmakers in Focus Talk” university talk, featuring Okuyama in conversation with Hong Kong director Adam Wong. Okuyama reflected on starting with photography: “A photo captures a single moment, but it can spark endless imagination.” Moving into film, he created works such as Kenshi’s striking MV Kanden. Asked about its inspiration, he explained, “I often think about what reality is. To me, reality is a mix of the real and the unreal,” an idea he expressed through constant shifts in perspective.
On the Japanese industry’s focus on “function” — advertising needing mass reach, or films aiming for box office — Okuyama offered a different approach: “Sometimes, creating for just one person is enough. A work can be like throwing a stone into a lake, a single message that resonates deeply.” Adam Wong also shared his own creative experiences, making the dialogue especially inspiring for students.
The three-day programme closed with enthusiastic participation from audiences and students alike. From post-screening talks to the university lecture, the exchanges were heartfelt and thought-provoking, showcasing the diversity of Asian cinema while inspiring the next generation.
The celebration continued into the second week, from September 8 to 12, with five packed screenings — including two special additional shows of At the Bench and Blue Gate Crossing — giving audiences more chances to experience the richness of Asian cinema. The programme also welcomed special guests from across the region: Korean director Seo You-min, Japanese director Satoko Yokohama, and Thai actor Pae Arak, who connected with audiences through university talks and post-screening Q&As.
The week began with the talk “A Veteran Screenwriter on the Rise of Korean Cinema,” moderated by Yimin Chen, Programme Director of the BA (Hons) in Film and Television. Director Seo looked back on her career as a screenwriter and filmmaker, discussing works such as April Snow, The Last Princess, and her latest adaptation Secret: Untold Melody. She explained that love stories have always been at the heart of her writing — inspired by her own sense of romance and her wish to bring comfort to audiences. Citing Bong Joon-ho’s words, “The most personal story is the most universal,” she encouraged students to draw from their own lives and be honest in their storytelling.
Seo also shared insights into how screenwriting operates within the Korean film industry, giving students a practical perspective on the profession. She urged aspiring filmmakers to write every day and start from smaller projects like short films to build experience. The Q&A was lively, with students expressing that they left with clearer inspiration and direction for their own creative journeys.
Another highlight was the post-screening Q&A of Seaside Serendipity, joined by director Satoko Yokohama. Adapted from a manga known for its distinctive style, the film was originally considered for a studio shoot but was ultimately filmed on the shores of the Seto Inland Sea to capture the natural beauty of the landscape. Asked about the many characters in the story, Yokohama cited her love for the American film Short Cuts, where characters appear only briefly yet leave lasting impressions. She explained that she wanted to capture something similar: from a child’s perspective, adults often appear and disappear without explanation, but these fleeting encounters quietly shape one’s growth.
The Thai comedy Will You Marry Monk? brought laughter to the theatre, followed by an engaging Q&A with lead actor Pae Arak. Playing a monk was a fresh and unusual role for audiences, and Pae admitted it was also a unique challenge for him — from shaving his eyebrows to keeping his robe in place during filming. He recalled the fun of shooting comedic scenes, noting that while the cast often burst into laughter behind the camera, they remained focused once the cameras rolled. Pae also spoke warmly about working with co-star Orm, describing her as like a “little sister” both on and off screen. His favourite scene, a heartfelt dialogue with her character, was particularly moving to film. He added that a month of shooting together in Japan helped him and the crew form close friendships that remain strong today.
The programme concluded with another university talk, “From Japan’s Indie Scene to the Berlinale,” where Satoko Yokohama returned to share her career path, moderated by Hong Kong director Eric Tsang. She revealed that she first dreamed of becoming a singer and moved to Tokyo for auditions, but after discovering independent cinema and art there, she decided to pursue filmmaking. Though she often doubted herself, encouragement from mentors gave her confidence — including her producer, who pushed her to try commercial film. Her first attempt, Bare Essence of Life, starred Kenichi Matsuyama. While it did not succeed at the box office, Yokohama said the true value of her films lies in presenting the moments and subjects she personally finds worth sharing with audiences. She encouraged students to treasure their ideas during their school years, as inspiration often strikes before one fully steps into society, and to keep creating with passion and courage.
Across eight films and three talks, Asian Cinerama: Growing Light offered Hong Kong audiences and students the opportunity to revisit their own life journeys through stories from across Asia. Over two vibrant weeks, the programme left audiences inspired by the diversity, creativity, and vitality of Asian cinema — and by the shared passion that continues to light up screens across the region.
Please contact us if any questions,
Email: info@afa-academy.com
Tel: +852 3195 0602
Website: www.afa-academy.com
