Renowned Hong Kong director Johnnie To Kei-fung recently shared his insights on the state of Hong Kong cinema and his own career during the “Chaos and Order” retrospective at New York’s Museum of Modern Art (MoMA). The event, which runs until October 13, showcases a variety of To’s films, spanning genres from comedies and romances to his iconic thrillers.
The retrospective highlights the breadth of To’s cinematic achievements and his dedication to portraying Hong Kong culture and life. “Johnnie To is simply unmatched,” says MoMA curator La Frances Hui. “His films encompass so many genres, and his love of cinema is total. His filmography is a testament to Hong Kong’s cultural richness.”
To’s visit to MoMA included a series of film introductions and question-and-answer sessions, where he engaged with audiences and discussed his career. He also made an appearance at the Criterion Collection headquarters in New York, where he selected his favorite films from their collection, including works by Akira Kurosawa and Jean-Pierre Melville. Criterion recently released a Blu-ray box set of To’s 1993 hit The Heroic Trio and its sequel Executioners, with more titles planned for release.
Reflecting on his career, To noted how his approach to filmmaking has evolved. He mentioned that he avoids re-watching his older films, as he believes not enough time has passed for a fresh perspective. He discussed the changing portrayal of triad societies and police in his films, influenced by Hong Kong’s shifting political landscape. “If you asked me today to make a film about the police being fair and just, I would hesitate,” he said, acknowledging the complexities of creating such narratives in current times.
The director also touched on the challenges he faces with unfinished projects, including a film about the 1997 handover of Hong Kong to China. Despite starting production, To paused filming due to difficulty concentrating. “I want to make a happy film,” he remarked, emphasizing his desire for a positive narrative in contrast to the complex themes he often explores.
Known for his unconventional filmmaking process, To explained his preference for working without a completed script. “I am very precise in my work,” he said. “For me, the picture is much more important than the words. It’s not a good method, but it’s my method.” This unique approach allows him to capture the spontaneity and authenticity that define his films.
To remains optimistic about the future of Hong Kong cinema, despite the industry’s changing dynamics. He emphasized the potential for collaboration with filmmakers from other Asian countries, such as Thailand and the Philippines, to create a more diverse and innovative cinematic landscape. “Is there the possibility of taking that spirit and collaborating with other Asian countries?” he asked, suggesting that Hong Kong’s strong technical foundation could benefit the broader region’s film industry.
As the retrospective continues to draw attention, To’s reflections offer a compelling glimpse into the mind of a filmmaker dedicated to his craft and his city, navigating both the past and future of Hong Kong cinema.
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