<h1 class="pgc-h-arrow-right" > Xiaoluxiang (1999) Douban score: 8.5</h1>
Director: Chen Guo
Writers: Chen Guo
Starring: Yao Yueming / Mak Huifen / Mai Xuewen / Zhang Xingchao / Xu Tianyou / Gu Zulin
Genre: Drama
Country/Region of Production: Hong Kong, China
Language: Cantonese
Release: 1999-12-30 (Hong Kong, China)
Runtime: 101 min / 118 min(Extended Version)
Also known as: Little Cheung
Xiao Luxiang (Yao Yueming Yuet-Ming Yiu) is 6 years old, and he has an alcoholic father, a gambling mother, a reclusive grandmother, and a brother who has never been seen by his mother.
Hosoji Xiang's family runs a tea house, and on this day came a 6-year-old takeaway girl Ah Fen. The father did not want to accept it, and drove Ah Fen out, and Xiao Lu Xiang secretly found Ah Fen, delivered takeaway with her, and shared the tip together. The two have a childlike relationship.
Xiao Luxiang asked his father about the whereabouts of his brother and was beaten up by his father. At this time, Affin was also discovered as a stowaway and repatriated to the mainland. As 97 approaches, Hong Kong people's lives are still short and trivial gossip. Xiao Luxiang heard that his grandmother and a Cantonese opera master once had an old love affair, and Uncle Hai, who claimed to be his grandmother's boyfriend, had a son, which was particularly good to Xiao Luxiang.
The days went on like this without any alarm. Ninety-seven. (Douban Introduction)
This film is the last part of Chen Guo's "Return Trilogy". Hong Kong, 1991, contains too many metaphors and historical contexts.
Many people worship it as God's work, but I can't see it clearly.
It may be that the things of that era are a little farther away from me and don't resonate too much.
It may also be that director Chen Guo's work and I can't find the kind of touch-and-go connection point.
Including "There's a Hollywood in Hong Kong" and so on, even if you watch the film reviews, you will not leave too much impression, which may be a pity.
Maybe in a few years there will be a different body odor.
Hong Kong is a special presence for people living on the mainland, especially in the relatively close Guangdong region.
Hong Kong's status is constantly changing with the times.
She is a window, inward, outward.
Hong Kong is a product of the interweaving of various cultural forms, Britain, Filipino maids, the mainland, etc., all kinds of people, etc., with different habits and cultures, the final thing, and the individual in daily life, may have long gone beyond the scope of politics, but the bits and pieces of emotions and veins accumulated by time.
In an extreme mixture of running-in, there are constant tears and disagreements for various reasons, during which time, falling on the individual, the brand of the times shapes many exogenous causes and effects and feelings.
A city, a landscape, a memory.
The wheels of the times passed slowly, and the crowds were endless.
From 1997 to 2020, an era has passed, and now it is standing at the threshold of a certain period of history, and no one knows how to wrap up and position Hong Kong in the next step. And how will the people living in this land decide and face it.
Can Xiangjiang Fengyun continue to write a legend, and it will be better? Or worse?
In 1997, no one knew, some people rejoiced, some people were depressed, but in the end, didn't they all come this way?
Where to go, just face it.