Presented by The Hong Kong Economic and Trade Office (Canada)

Canadian Premiere
Selection 2019

G Affairs

Directed by Lee Cheuk Pan

Hosted by Directors Lee Cheuk Pan and Actors Chan Hanna and Li Yam San


Official selection

Hong Kong Asian Film Festival 2018, Taipei Golden Horse 2018, Osaka Asian Film Festival 2019, Hong Kong International Film Festival 2019, Singapore Chinese Film Festival 2019, Bucheon International Fantastic Film Festival 2019, New York Asian Film Festival 2019


Hong Kong Film Critics Society Film of Merit 2018


Lee Cheuk Pan


Kurt Chiang


Hanna Chan, Lu Huang, Sen Lam, Kyle Li, Alan Luk, Chapman To


Titus Ho, Herman Yau


Karl Tam

Sound Designer

Duu-Chih Tu, Shu-Yao Wu


Joe Ng


Barfuss Hui


Scout Pictures Limited

Hong Kong 2018 105 mins OV Cantonese Subtitles : English
Genre DramaActionThriller

“[A] remarkably assured debut… a welcome critical voice in an industry that seems to be letting its mouthy cinematic heritage wither on the vine”

When a severed head is discovered in the flat of a teenage violinist, the destiny of a corrupt cop (screen veteran Chapman To), a Chinese prostitute (Huang Lu) and a teacher involved with a student (Hanna Chan), along that of a dog named Gustav, become forever entwined in a knotty web of lies and corruption. Whose head is this, and why is it there? The answer might be simple, but the road to it will be anything but, instead revealing the clandestine world that is the secret lives of these protagonists…

What do a gun, a dog, gravity, gonorrhea and a G-flat have in common in the world of G AFFAIRS? In a single letter, and so many words, Lee Cheuk-Pan’s thriller paints a sordid and highly stylized portrait of contemporary Hong Kong; of the social problems that plague it (inequality, corruption, criminality, the housing crisis or the political influence of mainland China), all the while exposing the cancerous thinking that eats it from the inside out. Awarded six nominations at the most recent Hong Kong Film Awards, G AFFAIRS is in many ways one of the more fascinating works to emerge from the city since its Golden Age: produced by Herman Yau and evoking the cinema of Fruit Chan, Lee offers biting insight while shying away from current tropes of social realism. Instead, the film recalls the twisted cinema such as Tetsuya Nakashima’s (CONFESSIONS, THE WORLD OF KANAKO, IT COMES), also paying homage to the Hong Kong tradition of the Category III film of yesteryear: hard-R ratings, per se, that confronted audiences to the taboo and the unimaginable. One thing’s for sure: you won’t have seen the city this up, close and personal in a while. – Ariel Esteban Cayer