Hong Kong movies are polarized at the box office
In July, Hong Kong is staging a film market "ice and fire". On the one hand, a number of new Chinese films have repeatedly shocked the summer box office, and the final result of "Disappearing Her" of 3.2 billion has successfully detonated the first bomb of the summer file; followed by "In the Octagon Cage" breaking 2 billion, "Thirty Thousand Miles of Chang'an" 500 million, and "I Love You" 4. 300,000,000 ...... These movies came strongly and successfully occupied the top position in the summer file.
On the other hand, traditional Hong Kong films disappeared during the same period. thought that the powerful "Anti-Drug 3" could lead the counterattack of Hong Kong films, but who knew that it would lose with a box office of 200 million in the first week of release.
This action film, which gathers the power of Aaron Kwok, Liu Qingyun, Louis Koo and other four major actors, may have a box office of less than 500 million in the end, and the marginal income has shrunk seriously.
While the Hong Kong film market is in full swing, the bleakness of Hong Kong films is in stark contrast. Once upon a time, Hong Kong films were still a banner of Chinese-language films, and the masterpieces frequently topped the box office.
But now, Hong Kong films are not only shrinking in quantity, but even in terms of quality, it is difficult to recover the decline with one or two box office dark horses. In the market environment of alternating between the old and the new, the audience base of Hong Kong films is constantly losing.
If this is only the general predicament of the Hong Kong film community, then the bleakness of "Anti-Drug 3" has undoubtedly become a concentrated epitome of this predicament. It gathers the top resources of the entertainment industry, but it still can't escape the doom of Waterloo.
Its box office performance actually spoiled the dilemma faced by Hong Kong films as a whole, which has also become a question worth pondering behind this polarization.
"Anti-Drug 3" is just a microcosm of the Hong Kong film dilemma
The reason why "Sweeping Drugs 3" is a dismal box office is not an exception, but a microcosm of the overall problem of Hong Kong films. It is not difficult for us to find that the various problems it reflects are also plaguing the current Hong Kong film industry.
The first is the stereotyping of the cast. This time, "Anti-Drug 3" gathered Aaron Kwok, Liu Qingyun, Louis Koo and other Hong Kong film actors, the original intention was to form a Hong Kong film "Avengers", but I didn't expect to end up with a lack of interest from the audience.
The problem is that this kind of extensive "combination of stars" has long caused the audience to have aesthetic fatigue. Liu Qingyun was replaced by Zhang Jiahui, and Louis Koo was replaced by Liang Jiahui, which had little impact on the overall effect, which shows the singleness and substitutability of the character setting.
The second is the lack of innovation in the script. The theme and narrative framework shown in "Anti-Drug 3" are highly similar to the existing models of Hong Kong films, and it is difficult to give the audience a new viewing experience.
Some viewers ridiculed that as soon as they saw the title of "Sweeping Drugs", they thought of the habit of Hong Kong films to bring forth new ones. On the other hand, the low-budget literary film "I Love You" has a novel story theme and has been recognized by the audience.
Again, the backwardness of the language of cinema. As an action movie, "Sweeping Drugs 3" is relatively rough in terms of rhythm processing and action design. The undercover reversal, which is necessary in crime films, is also handled too bluntly and lacks suspense tension.
In contrast, the literary and artistic films released at the same time are more delicate and nuanced in terms of lens language. This reflects that Hong Kong films are still at a relatively primitive level in terms of film language expression.
If commercial films inevitably have a tendency to rush for quick success, even the benchmark award for Hong Kong films, the Academy Awards, also reveals the same problem. This year's award is far-fetched and puts a question mark over its credibility.
All these circumstances show that the Hong Kong film industry as a whole is facing the dilemma of exhausting its creative strength, and it is urgent to carry out institutional reform and reform, otherwise it will be difficult to extricate itself.
The inherent limitations of Hong Kong cinema
It is not difficult for us to find that the heyday of Hong Kong films has always been short-lived. Behind it is the limitations determined by its unique cultural soil and the environment of the film industry.
The first point is that the prosperity of Hong Kong films depends on homogeneous mass production. Whether it's an action movie, a comedy, or a thriller, there's a cookie-cutter tendency. Lacking the ideological connotation of positional writers, once the model is exhausted, it is difficult to continue.
The second point is that Hong Kong's small territory also limits the space for film development. It is unable to enrich the subject matter by tapping into the diversity of regional cultures like mainland films.
The tranquil environment is also not conducive to nurturing a strong sense of historical nostalgia, which has become the weakness of his filmmaking.
Third, the security environment in Hong Kong is not conducive to the progress of films. If we have not experienced great turmoil and suffering, it is not easy to have reflection and change. Filmmakers tend to follow suit in a certain successful model, rather than actively seeking breakthroughs.
Fourth, Hong Kong films belong to small language films, and the market is naturally small. Without a strong audience base, it's hard to take the risk of investing heavily in innovation.
Once encountering environmental changes, they face the dilemma of being marginalized.
For various reasons, the heyday of Hong Kong films can only be short-lived. It cannot and does not need to play an iconic role in Chinese-language cinema. Transformation and development and integration into the context are the only way for Hong Kong films.
We look forward to the new generation of filmmakers finding a new direction for the film culture of this small island.
The decadence and self-abandonment of Hong Kong filmmakers
If the performance of commercial films can be explained by market factors, then the overall decadence and self-abandonment of the Hong Kong film industry are even more worrying. This year's Academy Awards revealed such a problem.
This year's Academy Awards are not only full of doubts about the nomination, but also the actual results of the awards are quite controversial. Many award-winning works are of average quality, but they have won important awards through their networks; And really excellent works, such as "The Corridor of Justice", rarely won at the award ceremony.
Both inside and outside the venue questioned the results of the awards.
What's even more regrettable is that even the benchmark figures of Hong Kong films have shown a decadent mood. Wu Zhenyu unveiled the short point on the podium, satirizing the Hong Kong film industry's "green and yellow"; Liu Qingyun also seemed to be happy in his acceptance speech, and bluntly said that in Hong Kong, being recognized is like waiting for a bus.
There are all kinds of signs that the Hong Kong film industry as a whole is falling into a strange circle of self-abandonment. It does not want to face up to the problem or actively seek breakthroughs, but blindly relies on the network of relationships to survive.
This makes it difficult to further cultivate the sprouts of Hong Kong films, and many epoch-making masterpieces cannot be born.
What we need is for Hong Kong film practitioners to break the strange circle and regain their enterprising spirit. Because the end of one era means the beginning of another. As long as we have confidence and determination and move forward bravely in the face of adversity, the Hong Kong film industry will surely create a glorious chapter belonging to the new era.
The way out for Hong Kong films
In the face of the dilemma, Hong Kong films need to find a new direction. In fact, fundamentally speaking, Hong Kong films should be integrated into the system of Chinese-language films and find their own positioning.
First of all, the concept of "Hong Kong films" needs to be broken. Hong Kong is only a component of Chinese-language films, confined to a small circle, and the prospects for development are weak.
On the other hand, some Hong Kong directors and actors have already entered the mainland market ahead of schedule and have achieved extraordinary results. It can be said that they have found the right direction.
Second, Hong Kong films should draw nourishment from Chinese-language films. In the mainland film market, you can get access to richer themes, more original techniques, and more large-scale resources.
These are all valuable lessons that Hong Kong films can learn from. Hong Kong filmmakers should take a holistic view of the situation and absorb the nourishment of mainland films.
Again, Hong Kong films must find their own positioning. It can be an excellent seasoning in Chinese-language films, and you don't have to force it to be on your own. For example, contributing comedy elements, adding urban style, and providing dubbing talents can all give full play to the unique advantages of Hong Kong films.
Finally, it is necessary to actively cultivate the new generation of film talents. Chen Kexin, Kwok Zijian and other older generation of filmmakers have laid the foundation for Hong Kong films, but the new era needs the relay of newcomers.
The new generation of filmmakers will inject new ideas and languages into films, and make Chinese films vibrant.
Hong Kong cinema is at a crossroads, but the crisis is also a turning point. Let us raise our confidence, embrace new changes, and firmly believe that Hong Kong films will create a brighter tomorrow.
New opportunities for Hong Kong films
Although the current situation of Hong Kong films seems to be difficult at first glance, it also contains new opportunities. As the end of an era, it also symbolizes the beginning of another.
First of all, the recession is an opportunity for Hong Kong films to be reborn. Redefining oneself in a new environment and absorbing richer nutrients will surely produce more colorful results.
Secondly, Hong Kong films can provide new ideas for Chinese-language films. It can contribute unique comedy elements, a highly malleable cast group, a rich and varied urban style, and so on.
In the form of "seasoning", it makes Chinese movies more interesting.
In addition, the repositioning will also help Hong Kong filmmakers explore more original themes and techniques. They will get rid of the shackles of "Hong Kong films" and embrace a wider world, and naturally there will be more breakthroughs.
Finally, new forces are on the rise. The new generation of filmmakers such as Chen Guo and Guo Zijian is gradually growing, and they are good at using new languages to tell the stories of this era, which will surely bring a new atmosphere to Chinese films.
Change is always painful, but the way out is there. Let us wish Hong Kong films a brighter light in the new era.
Calling on filmmakers to look to the future
In the face of this change, we call on filmmakers to look to the future and maintain an open and positive mindset.
First of all, we should abandon the baggage of the past, not be limited by the concept of "Hong Kong films", and focus on the entire Chinese film.
Second, it is necessary to actively absorb the experience of the mainland and draw nourishment from a variety of themes and techniques.
In addition, it remains open and inclusive in terms of subject matter and style, and interprets this era in a new way.
Finally, find your own position in the Chinese film industry and give full play to the unique advantages of Hong Kong films.
Change is painful, but being proactive is the key to breaking new ground. Let's join hands to continue to write a more brilliant chapter of Chinese films.