|Opening Film (1)||New Currents (36)|
|Deep Focus : Feminist Experimental Film/Video (25)||Korean Cinema Retrospective : Femme Fatale of a Thousand Faces, Do Kum-bong (4)|
|Asian Cinema: Filipina Cinema Panorama (9)||Focus on Léa Pool (6)|
|Feminist Film and Video Activism (15)||Asian Short Film & Video Competition (18)|
|Documentary Ock Rang Award (2)||Special Screening (1)|
A night street in Hong Kong. Car lights leave a long tail on the road. Dazzling neon lights dance in the air, yet no warmth is felt. This is all just a lifelike illusion. Here are three women chasing, tempting and resisting one another. And they have illusions about one another. The urban sprawl of Hong Kong is transformed into a massive virtual space, and is the perfect place for their games, secrets, outcries and tears.
Chan Kwok Chan, in Chinese, means ‘made-in-China Chan.’ She works as a stripper in the virtual space of the computer game, but suffers from debilitating headaches. Nicole, an executive at an advertising company, may have money and power, but can’t sleep at night. Watching Chan Kwok Chan’s cyber strip show is the only way to cure her insomnia. Zero is penniless, and spends her nights at a shelter for the homeless. Yet, she definitely knows what she wants, and is willing to do what it takes to get it. Zero meets Chan Kwok Chan by chance, becomes so emotionally attached to her, and she starts chasing her. These three women are unconsciously connected to one another, just as the netizens of virtual space are connected to one another by internet. Could the cyber community fulfill their desires and aid in their pursuits? The film puts forth questions through the eyes of modern women for whom cyberspace has already become more real than the reality itself. (Nam In-young)
Yau ChingYau Ching
Born in Hong Kong in 1966, Yau Ching received her BA in Comparative Literature and Philosophy in Hong Kong, MA in Media Studies in New York and Ph D in Media Arts in London. Her shorts have been awarded at various festivals worldwide. Her works include Suet-sin’s Sisters (1999), I’m Starving (1999) and Diasporama: Dead Air (1997). Let’s Love Hong Kong (2002) is her feature debut.