Hong Kong Film Gala Presentation — Singapore: Filmmakers share behind-the-scenes challenges
Hong Kong Film Gala landed in Singapore, share their on-set experiences. From transitioning from screenwriting to directing to navigating tight shooting schedules and capturing dynamic action shots, the event highlighted the creativity, adaptability, and enduring appeal of Hong Kong cinema.
Organised by the Asian Film Awards Academy, the “Hong Kong Film Gala Presentation — Singapore” was held from 11 to 13 September. The event was co-organised by the Singapore Film Society, with support from the Cultural and Creative Industries Development Agency under the Culture, Sports and Tourism Bureau, the Film Development Fund (FDF), and the Singapore ETO. The gala put Hong Kong cinema’s range and imagination on full display with eight selected films—six recent releases including Dog Day Evening, The Dating Menu, Wakesurf Lovers, Gamer Girls, Because of You Ka Kui, and The Snowball on a Sunny Day, alongside two timeless classics starring Bruce LEE presented by Shaw Organisation: The Way of the Dragon and Enter the Dragon. Together, the films showcased the enduring appeal of Hong Kong cinema to film lovers in Singapore.
Ms. Elsa HUNG, Director of the Hong Kong Economic and Trade Office (HKETO) in Singapore, underscored cinema’s role in showcasing Hong Kong’s culture and creativity to international audiences. “Hong Kong has a rich cinematic heritage, and our films have brought Hong Kong’s unique stories, culture and creativity to audiences worldwide over the decades,” she said.
Kenneth TAN, Chairman of the Singapore Film Society, expressed how thrilled local audiences were about the “Hong Kong Film Gala Presentation”, noting that they had been captivated by the beauty of Hong Kong cinema for decades. Through the gala, film lovers could see both classics and newly released films, and the two places also forged a closer connection, fostering cultural exchange.
From Page to Screen: Bringing the Written Word to the Screen
“Hong Kong Film Gala Presentation — Singapore” opened with Dog Day Evening, a black comedy shot in a single location, exploring human nature and office culture through an ensemble of interconnected characters.
MAK Tin Shu never imagined himself sitting in the director’s chair; the screenplay was originally crafted for a competition. Speaking at the post-screening Q&A, he recounted the biggest hurdle in his transition from screenwriter to director: shifting from telling a story with words to translating those words into visual language. He also likened a director to a safety net, catching the team when trust threatens to collapse. When bombarded with questions from the crew, a director may not always have the answers; instead, he must make decisions and rely on the team to bring the production to completion. He quipped that a director must sometimes act, projecting confidence to keep morale afloat.
MAK was influenced by Hong Kong cinema’s “flying paper” (飛紙仔) tradition of on-set script revisions, particularly at Milkyway Image. While he kept the core narrative intact and made only minor dialogue adjustments, he also left room to develop character details during filming.
The opening film screened to a packed house, resonating deeply with the Singaporean audience and inspiring a vibrant Q&A session afterward.
Breaking the Frame: More Possibilities for Actresses and Characters
Rachel LEUNG, for her part, revealed how she actively campaigned for her role as a tough police officer. She even wore a blue shirt to the audition to get into character, hoping to convince the director she was the one. Noting that actresses often find themselves boxed in by their appearance, she had always wanted a chance to play a charismatic character with a layered personality, and she treasured this opportunity.
A Conversation Between Two Directors: Seeking Opportunities in Film and the Market
MAK Tin Shu and Kelvin SNG then discussed their creative journeys, the creative process and the future of Hong Kong cinema. Both directors found success early in their careers: MAK won Best Screenplay at both the Golden Horse Awards and the Hong Kong Film Awards for Trivisa, opening a new chapter in his screenwriting career and bringing further work opportunities. SNG likewise achieved commercial success with his debut film Taxi! Taxi!, which led to more opportunities.
When asked about the future of cinema, MAK observed that films focused purely on romance have become less common in Hong Kong over the past decade, despite the wide range of genres produced over the years. Kelvin SNG, meanwhile, described the Singaporean film market as polarised between local commercial comedies and internationally acclaimed art films, and expressed his hope to strike a balance between the two.
Discussing film genres and the development of Hong Kong cinema, the Hong Kong director noted that whether comedy can become a viable path for the film market remains to be seen, but creators should dare to be creative without being constrained by “viability” or genre: the most important factor remains the quality of the work. He also noted that film remains a costly art form, where investment and returns influence market decisions, and that audience attendance and word-of-mouth are the most direct ways to support the industry’s growth. The two concluded by sharing their visions for new projects and cross-city collaborations, demonstrating their enduring passion and open-minded approach to filmmaking.
Loving in the Concrete Jungle: Between Reality and Romance
In addition to Dog Day Evening, another film starring Rachel LEUNG, The Dating Menu, was also screened in Singapore. Joined by Renci YEUNG, she attended the post-screening discussion, where they shared experiences from the shoot. The Dating Menu uses food to connect the male lead’s encounters with four women, depicting the loneliness of urban Hong Kong and the interplay between reality and romance.
The film marked Rachel LEUNG’s third collaboration with director Amos WHY. She mentioned that while preparing for the role of a lawyer, in addition to observing successful career women, she also focused on understanding the character’s personality beyond her professional identity, as well as her relationships with the other characters. With a ten-day shooting period, building chemistry and portraying natural, everyday interactions within such a short production period was a major challenge for the cast. Therefore, trust among the actors was more important than whether they were personally acquainted. It was only through give and take with their co-stars and on-set improvisation that they could naturally portray the relationships between the characters.
Behind-the-Scenes Insights on “Wakesurf Lovers”: The Thrills on the Waves
In addition to The Dating Menu, Renci YEUNG’s visit to Singapore also allowed her to share another project with local audiences—the wakesurfing-themed film “Wakesurf Lovers,” directed by FUNG Chih Chiang. She shared amusing stories from the shoot.
For example, a romantic slow-motion scene in the film was the result of a harrowing accident. During a sequence featuring both actors on the water, Jeffrey NGAI slipped and fell into the water, accidentally kicking her squarely in the head. She recalled, “We were both holding onto the board in the water. I was touching my head gently, and he came over to touch my head to check if I was bleeding.” But the director captured this moment and turned it into a beautiful slow-motion shot, leaving her both amused and shocked: “It was clearly an accident, but the result turned out to be so romantic!”
She also credited the entire team and the director for the success of the shoot. The crew deployed six different types of cameras and tried out many innovative filming techniques: in addition to cinema cameras, they installed GoPros on the board; for some shots, her surfing coach held a rope in one hand and a phone attached to a telescoping pole in the other, following closely alongside her on the outside of the waves to create a unique perspective. The most memorable shot was when, just as she was about to jump, the cinematographer tossed a 360-degree camera from beneath the board, precisely capturing the moment it passed right under her feet. Renci YEUNG laughed, saying the process was fun, and the audience also praised the result, which, like the subject matter itself, felt fresh.
During the Q&A session, a fan praised her performance, noting that he had always been a fan of her work. Upon hearing this, Renci YEUNG quipped, “Thank you, I didn’t invite this audience member, so what he said is completely sincere!” Her humorous response drew laughter from the entire audience, creating a lively atmosphere.
The “Hong Kong Film Gala Presentation — Singapore” came to a successful close. But Hong Kong cinema and the “Hong Kong Film Gala Presentation” will not stop here—whether it’s absurdist comedy, urban romance, or passionate surfing stories, Hong Kong filmmakers will continue to showcase their creativity and produce great films, while the Asian Film Awards Academy will continue to bring more outstanding films to the international stage.
About Asian Film Awards Academy (AFAA)
The Asian Film Awards Academy (AFAA) was founded by the Busan, Hong Kong and Tokyo International Film Festivals, it is a non-profit organisation dedicated to promoting Asian cinema and nurturing film talent. In addition to organising the annual Asian Film Awards, AFAA presents year-round screenings, cultural exchange programmes, talent development initiatives and international promotion projects to foster collaboration across the Asian film industry. Through these initiatives, AFAA strengthens connections among film professionals across Asia and promotes Asian cinema to international audiences.
About Cultural and Creative Industries Development Agency (CCIDA)
The Cultural and Creative Industries Development Agency (CCIDA), established in June 2024 and formerly known as Create Hong Kong, is a dedicated office set up by the Hong Kong Special Administrative Region (HKSAR) Government under the Culture, Sports and Tourism Bureau. It provides one-stop services and support to the cultural and creative industries with a mission to foster a conducive environment in Hong Kong to facilitate the development of arts, culture and creative sectors as industries.
About Film Development Fund (FDF)
The Film Development Fund (FDF) was first set up by the Hong Kong Special Administrative Region (HKSAR) Government in 1999 to support projects conducive to the long-term development of the local film industry. Since 2005, the HKSAR Government has injected around $ 2.9 billion in total into FDF to support Hong Kong’s film industry along four strategic directions, namely nurturing talent, enhancing local production, expanding markets and building audience. In the past, FDF has supported a number of film productions and other film-related projects through various film production funding schemes and other film-related project schemes.
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