2022 Hong Kong International Film Festival
Best New Director, Best Editing, 2023 Hong Kong Film Awards
Recommended Movie, 2023 Hong Kong Critics Society Awards
Best Movie Character of the Year, Recommended Screenplay of the Year, 2022 Hong Kong Screenwriters Guild
Best New Director, 2022 Hong Kong Film Director’s Guild Annual Awards
Frankie Tam, Oliver Yip, Thomas Leung
Yeung Wai-Lun, Mak Pui-Tung, Michael Chow, Louisa So
Well Go USA
Ten years ago in Hong Kong! A local double homicide has been dominating the news for weeks. Young Henry Cheung and his buddy, Angus have murdered and dismembered his parents. Cheung has openly confessed after being exposed. But his accomplice’s involvement is much hazier. His mental state was taken advantage by the cops when they forced a confession out of him. Moreover, Cheung may have forced him into the crime. A motley team of jurors have been summoned to decide their fates, which is proving far trickier as anticipated due to the constant media attention. Now the facts are no longer proving to be as black and white as before, so how guilty are they?
Based on a real-life case, THE SPARRING PARTNER is a pure Hong Kong film. No attempt was made to appease the censors and enter the lucrative Mainland China market. Instead, the focus was on HK and the rest of the world. This resulted in an avalanche of awards, international acclaim, and ranking as a top-10 box office-champion in Hong Kong. Ho Cheuk-Tin is a first-time director and already a force to reckon with. He was previously an assistant director to award-winner Phillip Yung (PORT OF CALL, Fantasia 2015), who also served as the main producer here. THE SPARRING PARTNER also recalls some of the controversial 1990s Category 3 films with its courtroom drama, sensational murders, and a few wild fantasy moments, but with a lower dosage of cheesiness, focusing on the drama itself. Director Ho keeps the film engaging and enthralling throughout, exploring all perspectives and scenarios with a colourful cast and a nuanced script. – King-Wei Chu
Kenneth Dagatan’s second feature film is a Filipino folk-horror fairy tale to freeze the blood in your veins, a gory, gothic nightmare in a time and place of perfidy, dread, and desolation.
A young woman is at the mercy of dangers hidden in a state-of-the-art safe house.
Kent’s ground-breaking 1965 film, the story of a housewife imprisoned by her domestic world, is uncommonly perceptive about the contradictory condition facing the independent woman in a sexist society.