Thousands of Hongkongers, still living in the shadow of the 2019 protests, are immigrating to the UK to forge a freer future. This film documents their struggle to break free from a homeland that is no longer welcoming, while holding on to the Hongkonger identity in which they find purpose. In exile, can the Hongkonger identity persevere, or is it destined to obscurity? Can they really find a place to call home?
More than twenty years ago, Dazhang along with his three brothers came to Guangdong to work in a local quartz powder factory. However, a few years later, Dazhang was diagnosed with advanced staged pneumoconiosis. Returning to his hometown, the pneumoconiosis was gradually killing him every single day. The entire family was stuck in this seemingly endless suffering, while his children were still confused about what happened to their father.
A wistful but witty account of a trip to Beijing by director Viv LI, a Chinese art student who has been abroad for ten years. Her stay with her family mercilessly exposes how uprooted she has become by her life abroad.
WU Haohao, a worshipper of MAO Zedong, describes himself as a video producer. He shoots a lot of videos, mostly with sexual content. He and his girlfriend try to function in an open relationship, which suits only one of the partners, while the other suffers and longs for a family life. The possibility of emigration to America is a hope, but it is gradually receding due to the worsening political situation.
One risked rushing against raging waves to escape being involved in the Cultural Revolution; one resisted colonialism and was imprisoned due to participating in printing patriotic periodicals; one supported the students' demands for freedom, only to see their dreams and bodies crushed by tank treads. The past is presented in fictional scenes, with today's activists playing those of yesteryear, as their scarred memories and experiences become more tangled than ever.
Two family histories, one century and two metropolises merge in one person: Weina ZHAO, whose parents called her 'Vienna' – Wéiyěnà – because they emigrated to Austria. Her journey into the history of China leads to the Japanese Occupation and the Cultural Revolution, while tackling the great issues of the 21st century: migration, identity and the search for one's past.
In the town where the filmmaker was born, he and his family are following an age-old tradition by building a tomb for his grandparents. This carefully composed portrait of a village, interspersed with scenes of people at work, personal memories, and philosophical reflections, gradually unveils the spiritual world of the hometown and offers a meditation on existence itself.
Why do we see certain colours even when they aren't there? The filmmaker meticulously analyzes the one hundred CNY bill, which carries a portrait of MAO Zedong, and finds that – despite official representations and general perception – the banknote is pink rather than red. In a serious tone and colourful images, she also casually challenges entrenched notions about digitalization, globalisation, capitalism and gender.