The film “Dad” is set to premiere in North America on March 14. The 31st Hong Kong Film Critics Society Awards honored the film “Dad,” directed by Weng Ziguang and starring Lau Ching-wan, with awards for “Best Director” and “Best Actor,” putting director Weng Ziguang in the spotlight once again. This Hong Kong director has carved out a place for himself in the film industry with his unique interpretation of bizarre cases and profound depictions of human nature.
Weng Ziguang has always had a sentimental attachment to local bizarre cases in Hong Kong. His latest work “Dad” has become a hot topic, adapted from a real-life event, the 2010 “Tsuen Wan double murder case,” starring award-winning actor Lau Ching-wan and Gu Zu-lin, produced by Qian Xiaohui and co-produced by Sun Fei, continuing the style of “Port of Call” and also reminiscent of “Inner Senses.”
Known for his focus on marginalized individuals in society, Weng Ziguang’s childhood experiences play a significant role in shaping his perspective. Born in 1979 in Huizhou, Guangdong, he immigrated to Hong Kong with his family at a young age and grew up in Tsuen Wan. Surrounded by numerous cinemas, he developed a strong interest in films from a young age, even renting videotapes to watch at home. During his school years at St. Francis Xavier’s School in Tsuen Wan, despite his mediocre academic performance, he was passionate about writing and often participated in drama productions, showcasing a talent for storytelling. Among the four classes in his grade, he wrote scripts for three of them and would even write detective novels in his exercise book to share with classmates.
Describing himself as a “borderline student” back then, with poor academic performance, Weng Ziguang did not return to his original school after failing the Form 5 public exam. His sole focus was to study filmmaking at Hong Kong Baptist University, but prior to the Form 7 exam, a social worker suggested he assist on a film set. Consequently, without completing high school, he delved into the film industry, foregoing several exam papers. Subsequently, he enrolled in the Hong Kong Film Directors’ Guild’s scriptwriting and directing training courses.
After the public exam, he attended a private school and became classmates with future director Chau Kwun-wai, with whom he frequently discussed films. However, his academic journey was not smooth sailing. Unable to advance to the pre-university level, he initially planned to apply to the film program at Hong Kong Baptist University but decided to pursue a career in the film industry based on the social worker’s recommendation before the Form 7 exam. He boldly gave up his exams to work as an assistant on film sets, taking the first step in his film career.
In 1999, at the age of 20, Weng Ziguang worked as an assistant art director on a film set, only to find himself responsible for menial tasks like making tea and running errands, rather than actual art duties. However, he soon had the opportunity to work on masterpieces like Wong Kar-wai’s “In the Mood for Love,” focusing on sound effects production. During this period, he learned how to meticulously recreate environmental sounds, gaining a deeper understanding of film technology.
In 2000, he was hired by Michelle Yeoh’s “Mythical Films” company to vet scripts, exposing him to numerous works and honing his skills in scriptwriting. In 2001, he started writing film reviews and enrolled in the Hong Kong Film Directors’ Guild’s directing course, systematically studying film theory. Despite accumulating experience, he initially did not direct feature films but instead turned to making promotional videos, documentaries, and television series, briefly stepping away from the film industry.
It wasn’t until 2007 that Weng Ziguang encountered a benefactor in the film industry, Ann Hui. At the time, he sought advice from Ann Hui on a script he had written, merely hoping for suggestions but unexpectedly receiving encouragement from her. She told Weng Ziguang, “This is your story, only you can faithfully present it.” This statement became a pivotal point in his decision to pursue directing.
Encouraged by Ann Hui, Weng Ziguang began seeking investments and eventually shot his first feature film, “Splendid Times” (2009), with a budget of less than one million Hong Kong dollars over one year and three months. Although modest in scale, the film garnered a nomination for “Best New Director” at the Hong Kong Film Awards, officially launching his directing career.
In 2015, his film “Port of Call” garnered the spotlight in the film industry. The movie, based on the 2008 notorious case of a dismembered teenage girl in Hong Kong, aimed not merely for sensationalism but to delve into the loneliness of human nature and the predicament of marginalized societal groups through crime cases. It won seven awards at the 35th Hong Kong Film Awards, including Best Screenplay and Best Cinematography, becoming one of his most emblematic works.
Following his 2015 success, Weng Ziguang gained increased support from investors, getting the opportunity to direct the high-budget film “When the Wind Rises.” Despite being completed in 2018, the film faced setbacks due to social movements and the pandemic, going through multiple editing iterations before finally passing mainland China’s censorship and officially premiering in 2023. The star-studded cast included two renowned actors, Aaron Kwok and Tony Leung, recounting the legendary stories of four top detectives in Hong Kong from the 1940s to 1980s. Unfortunately, the film only grossed around 10 million Hong Kong dollars at the local box office, failing to recoup its budget even with the combined box office earnings in mainland China and overseas.
Opinions on “When the Wind Rises” were divided. Those who enjoyed the film found it infused with nostalgic sentiments of the Hong Kong colonial era, including streets, buildings, clothing, transportation, and more. Weng Ziguang himself expressed his desire to recreate old Hong Kong through this film. However, some felt the plot was too fragmented, and the character developments were not sufficiently profound.
In 2022, Weng Ziguang’s production “Inner Senses” once again sparked attention. The movie, adapted from the 2013 “To Kwa Wan patricide and matricide case,” explored the boundaries of legality and moral ethics. Due to a lack of production funds, Weng Ziguang considered self-financing the project, even contemplating using his housing funds, ultimately receiving support from an anonymous lender and “Mr. K” to successfully complete production.
Weng Ziguang’s works often delve into social issues, using criminal cases as a gateway to probe deep-seated human issues. He has expressed his aversion to being labeled as just a “bizarre case director,” aiming instead to encourage audience reflection on family, society, and the legal system through films.
Regarding the future of the Hong Kong film industry, Weng Ziguang believes it is currently undergoing a significant transformation. He emphasizes the need for Hong Kong cinema to strike a balance between artistic freedom and market support, encouraging industry practitioners to maintain resilience. Weng Ziguang highlights the importance of not dwelling on past achievements but focusing on exploring innovative elements for the industry’s growth.
For the full content of “Drifting Legends” in this issue, please watch online.
—Production Team of “Drifting Legends”