In 2015, director Weng Ziguang made "Treading Blood and Finding Plums", which refracted the evil of society with the death of a prostitute.
In 2016, director Huang Jin, who was only 29 years old, made "A Thought of Ignorance", directly aiming the camera at the bipolar population.
In 2020, "Uncle" directed by Yang Yaojia presented the emotional world of a pair of middle-aged and elderly men of the same sex through the screen.
In recent years, these Hong Kong films have begun to pay continuous attention to special groups in Hong Kong society, and from these groups, we have read some alternative Hong Kong stories.
Recently, the shortlist of the 58th Golden Horse Awards was announced.
Among the shortlisted films, there is one film that insists on telling the story of a special group in Hong Kong .
"Turbid Water Rafting"
It is an independently produced art film.
Adapted from real events, it presents the living conditions of the lowest people in Hong Kong, the street sleepers, who fight after the FEHD's violent street sweeping.
The film was directed by young director Li Junshuo.
Li Junshuo, born in 1991, graduated from the Department of Journalism of the University of Chinese, Hong Kong.
As for the lineup of the movie, it is completely worthy of the full acting school.
After graduation, Li Junshuo entered the film circle and finally expressed the story of the rough sleeper through the lens.
"Muddy Water Rafting" is his second feature film after his 2018 debut "Trish" to amaze the Golden Horse Film Festival and the Tokyo Film Festival.
The audience once again saw the depth and tension of his role as a director.
Wu Zhenyu and Xie Junhao sat together, and Li Lizhen and Ye Tong co-starred.
In addition, there are Cai Siyun, who was nominated for the Academy Awards with "Phantom Love", and Zhu Baikang, who was nominated for the Academy Awards with "Golden Capital", and other powerful actors to join, making this film strong.
The film is about Sham Shui Po ten years ago.
At that time, Sham Shui Po was in a period of urban renewal and urban reconstruction.
During this period, the Hong Kong government began to intensively purge street nomads.
Hui Ge, played by Wu Zhenyu, is one of the vagrants.
They are involved in crimes such as drugs and violence, so they have been swept up by the government for a long time, and even violated their rights in the process of sweeping.
The film begins with the return of Hui Ge.
After being released from prison, Hui Ge returned home, for him, home is a remote street, and the street friends such as Dasheng, Lao Ye, and A Mei, who are also rough sleepers, are his rare connections with this society.
Just when they thought they could continue their peaceful life in the streets of Sham Shui Po, FEHD staff suddenly violently washed the streets.
Law enforcement officers rudely confiscated all the personal belongings of the rough sleepers, from beds, daily necessities, photographs, to identity documents, which they forcibly discarded and disposed of as garbage.
This infuriated Hui Ge, so he gathered street friends to go to the government to pull up banners, shout slogans, and protest in an attempt to obtain compensation and apologies in this way.
Protests, for the first time, were seen, and the media and journalists flocked to them.
In an interview with reporters, Hui Ge told about their lives and reiterated their demands.
Because of their eviction, they had to move away from a more remote bridge to live.
In the bridge hole, Hui Ge meets a new rough sleeper, a young boy who has run away from home.
In MuZai, Hui Ge projects his love for his dead son.
He warns MuZai not to take drugs and guides Muzai to know sex.
Hui Ge found the standing street woman and begged the station street woman to help a bunch of wooden boys.
Subsequently, Mu Zai entered the small wooden shed of the woman standing on the street and completed the transformation from a boy to a man.
The most moving scene in the film should be the scene of the old man (played by Xie Junhao) confessing to his relatives.
The "old man" played by Tse Jun-ho is a refugee during the Vietnam War, who lost contact with his family after falling into Hong Kong.
The female social worker helped him find his son, who had become a designer abroad, and called "Lao Ye" to video chat with his son.
Xie Junhao presented a very layered and infectious performance.
When he learned that the person on the screen was his own son, he was first incredulous and stunned.
But soon, tears could not help but emerge in his eyes.
After a conversation with his long-lost son, his heart was filled with an indescribable sense of happiness.
But at the same time, he knew how embarrassed and depressed he was at this time, so he only dared to talk to his son on his side.
As the exchange deepened, he learned that his son had settled abroad and started a family and had two children.
At this point, his excitement reached its peak, but in the next second, he immediately turned from joy to sorrow.
He mourned his own incompetence and failure, and felt immensely frustrated by years of failure to fulfill his father's duties.
The old man said to his son, "Don't come to see me, it's good to be able to talk to you like this."
From surprise to joy, and from joy to sorrow, Xie Junhao's explosive performance made Xiaomei marvel.
What also amazed the little sister was that there was also the old man who resolutely chose to commit suicide the next day.
In every wanderer, there is a past that ordinary people cannot understand and touch.
Hui Ge, who bears the pain of losing his son, the great victory of drug-contaminated drugs, the old man who fled from Vietnam to Hong Kong during the Vietnam War,
Chen Mei, who earns a meager income by washing dishes, mu zai, a young man with aphasia who runs away from home...
They have not lost the most basic values of good and evil, and they should not be deprived of their most basic human rights as human beings.
Although the road to rights protection was difficult, fortunately, they won the lawsuit with the help of social workers.
However, the FEHD, which lost the case, was only willing to compensate and refused to apologize.
The government agreed to compensate HK$2,000 each, but refused to apologize for the violent clearance.
When all the street friends thought it was a happy ending, Hui Ge was reluctant to accept the result.
Because what he wants is not just money, but a reasonable apology, he wants to fight for a pitiful dignity and justice for himself who survives in the cracks.
Hui Ge looked at the gradually tall Sham Shui Po and said, "Sham Shui Po is a place for the poor, even Sham Shui Po has begun to build expensive apartments, where can the poor live?" ”
The living conditions of marginalized people at the bottom of Hong Kong society are so vividly portrayed through this line.
In the end, the rest of the street friends except Hui Ge received compensation and left the gathering place under the bridge.
Only the seriously ill Hui Ge stuck to his obsession.
Hui Ge firmly lit a fire one night, burned down the shacks of the linglings, and completed this confrontation about dignity.
In the raging fire, he seemed to see a glimmer of light in his dark life.
In the past two hours of film, the director wants to express a lot, but what makes Xiaomei sigh is that sentence, the degree of civilization of a society depends on the attitude towards vulnerable groups.
After watching this film, many viewers are lamenting Wu Zhenyu's explosive acting skills.
Xiaomei also wants to say that the real idol is indeed without baggage.
Although he missed the Golden Film Awards five times, in the hearts of the audience, Wu Zhenyu could have been called emperor.
In the hearts of the audience, Wu Zhenyu can be called emperor long ago.