Masterclass: Spotlight Leading Voices in Asian Cinema
As part of the 19th Asian Film Awards featured programme, three masterclasses were held in Hong Kong, featuring Korean director HWANG Dong-hyuk, internationally acclaimed Chinese filmmaker JIA Zhangke, and renowned actress ZHANG Ziyi.
As part of the 19th Asian Film Awards featured programme, three masterclasses were held at the Xiqu Centre, WestK in Hong Kong, featuring Korean director HWANG Dong-hyuk, internationally acclaimed Chinese filmmaker JIA Zhangke, and renowned actress ZHANG Ziyi. Each shared insights into their creative journeys and filmmaking philosophies in conversations with audiences.
The sessions drew more than 3,000 attendees, including filmmakers, students and film enthusiasts from around the world, creating a vibrant atmosphere of exchange at the Xiqu Centre, WestK.
HWANG Dong-hyuk: From Hong Kong Cinema to Squid Game
The first masterclass featured Korean director HWANG Dong-hyuk, best known for the global phenomenon Squid Game. His previous works include Silenced and Miss Granny.
Speaking about the films that shaped his creative vision, HWANG highlighted the influence of Hong Kong cinema. “Hong Kong films from the 1980s and 1990s were incredibly popular in Korea. Many people from my generation grew up watching them.”. He recalled rushing to cinemas with classmates after school exams to watch Hong Kong films, noting that films starring Jackie CHAN and Sammo HUNG were especially beloved. Laughing, he added: “Hong Kong films are probably the ones I’ve watched the most in my life. I’ve seen A Better Tomorrow more than ten times. If I had to name my favourite Hong Kong film, Infernal Affairs is definitely one I admire greatly.”
Reflecting on the development of Squid Game, HWANG revealed that the story was originally conceived as a feature film. “The project began as a film idea, but when it evolved into a series I had much more space to expand the characters and the world. The earliest version didn’t include the Player 001 storyline — that was added later in the series.”. He also introduced a detective character, allowing viewers to enter the world behind the game and glimpse the lives of those operating it.
HWANG spoke candidly about his mindset when choosing a filmmaking career: “When I decided to pursue filmmaking, I had already prepared myself for the possibility that I might become a loser.”. Yet that mindset strengthened his determination to continue telling stories through cinema. He encouraged young filmmakers in the audience: “Anyone can learn film techniques. What truly matters is whether you have a story you want to tell the world.”
JIA Zhangke: Filmmaking Across Cultures
The second masterclass, co-presented by Rolex and AFAA, was hosted by Carlo Chatrian, Director of the National Museum of Cinema in Turin, Italy. Supported by Rolex as part of its Perpetual Arts Initiative, the session featured internationally renowned Chinese director and Rolex Testimonee Jia Zhangke, who reflected on his creative journey and his approach to the art of cinema.
Reflecting on his long-standing collaboration with actress ZHAO Tao, JIA began with a laugh: “Maybe I can share something personal.”. He recalled searching for the lead actress for Platform and struggling to find the right candidate, until he attended a dance class at a university in Shanxi and noticed the teacher leading the class — ZHAO Tao.
JIA also shared a memorable moment from the production: “The costume team intentionally made the clothes look very old — even a little dirty — to reflect the period. But ZHAO said, ‘Clothes can look old, but they shouldn’t look dirty. People in every era have dignity.’”. The remark deeply moved him and prompted him to rethink how characters and historical details are portrayed. ZHAO has since become a key collaborator across many of his films.
Speaking about international collaborations, JIA noted that working with film crews in France and elsewhere became an important learning experience. “In the past I was the kind of person who acted first and figured things out later. But in a more mature production system, you must learn to work with planning and structure.”. He also recalled working with French cinematographer Eric GAUTIER. “My English wasn’t very good, so I even hired a translator. But later I realised we only needed about ten words to communicate.”. For JIA, filmmakers across cultures share a universal language — the language of cinema.
When asked about the rapid rise of AI technology, JIA revealed that he has already begun experimenting with AI-generated imagery, producing several AI short films in recent years. “There’s no need to rush to protest it or reject it. When a new technology appears, we should first try to understand it rather than immediately define it.”. His remarks reflected a creative mindset open to change — echoing the spirit that has long defined his films, which closely observe the transformations of contemporary society.
ZHANG Ziyi: Finding the Soul of a Character
The final masterclass featured ZHANG Ziyi, hosted by Hong Kong producer DING Yuin Shan. Looking back on her filmography, ZHANG recalled working with Aaron KWOK in Love for Life. She admitted she was initially surprised when the director cast Aaron as a villager: “Aaron is such a handsome Hong Kong actor and an incredible dancer. When I heard he would learn a dialect and play such a grounded character, I was really surprised.”
But once she saw him on set fully immersed in the role, she immediately realised how perfect the casting was. The two actors frequently exchanged ideas about their characters and performance rhythm, sparking new approaches to their scenes.
Discussing The Grandmaster, ZHANG spoke about the intense preparation required for the role of Gong Er, which involved years of martial arts training during the film’s three-year production. “People often think it should have been easy for me because I studied dance before. But I wasn’t a very good dance student, and my body was quite stiff.”. The experience revealed the dedication behind her performances.
Speaking about her role as ZHAN Zhou-shi in her latest film She’s Got No Name, ZHANG recalled filming a key scene in Shanghai during winter: “When the character first appears, she has just killed someone. She is exhausted and terrified, hiding in a corner, uncertain about what fate awaits her. The trembling you see in the film wasn’t something I deliberately acted — it came from the cold and the character’s emotional state, which gave the role more space to breathe.”
When asked why she continues to pursue demanding roles, ZHANG explained: “Compared with thin, stereotypical characters, I prefer roles that feel real — characters with personality, obsession, even a little madness and struggle.”. She laughed that she often seems to “choose the harder path,” but those imperfect characters are precisely what draw her in. “Their souls are fascinating. That’s what makes me want to explore them.”
ASIAN FILM AWARDS ACADEMY
The Asian Film Awards Academy is a non-profit organization founded by the Busan International Film Festival, the Hong Kong International Film Festival and the Tokyo International Film Festival. In addition to presenting the annual Asian Film Awards, the Academy organizes screenings, exchange programmes and professional development initiatives to promote Asian cinema and nurture industry talent.
Our year-round events and programmes are held with the objectives to promote Asian films to a wider audience, expand the film market within Asia, and build and sustain connections among Hong Kong and international film professionals. Masterclass Series – in conversation with filmmakers, Journey to the fest – Student Visit to International Film Festivals, Asian Cinerama – Film Roadshow, and Young Film Professionals Programme – overseas training and work-placement, are examples of our year-round programmes. These programmes couldn’t have been held successfully without the financial support of the Cultural and Creative Industries Development Agency and Film Development Fund of the HKSAR Government. AFAA has worked to promote, educate, inform and develop knowledge, skills and interest in Asian cinema among the industry, students and audiences in Asia and beyond with the support of film festivals and cultural organizations.
CULTURAL AND CREATIVE INDUSTRIES DEVELOPMENT AGENCY (CCIDAHK)
Under the Culture, Sports and Tourism Bureau of the Government of the Hong Kong Special Administrative Region, the Cultural and Creative Industries Development Agency (CCIDA) (formerly known as Create Hong Kong (CreateHK)) is a dedicated office, aiming to spearhead the development of cultural and creative industries in Hong Kong.
FILM DEVELOPMENT FUND
The Film Development Fund (FDF) was first set up by the Government in 1999 to support projects conducive to the long-term development of the film industry in Hong Kong, including: part-financing small-to-medium budget film productions; enhancing efforts to promote Hong Kong films in the Mainland and overseas; enhancing initiatives to train talents in various aspects of film production and distribution; and enhancing the interest and appreciation of Hong Kong films by the local audience.
