We're Nothing at All

I got a text from Justin last week saying "RED ALERT! New Herman Yau passion project playing in North York." In my world, this is an emergency. In times like this, we drop everything. Yau self-funded this drama about a young, troubled gay couple on the fringes of Hong…

Will Sloan

“I seldom think about this, but it’s a good question. Why do I do this? I think I have some concerns about those subjects. I’m quite aware of the world and the society I’m living in, and I’m also curious about so many things. Sometimes I think the drive to make some movies…

Brandon Streussnig

From Writer/Director/Producer Herman Yau, the director of many sleazy classics like EBOLA SYNDROME and a hundred mainland Chinese blockbusters starring Andy Lau, comes a guttural scream at the state of Hong Kong, told through the love story of two men that the world chewed…

Justin Decloux

拜託不要再想像和消費同志議題… （即使要用同志不被承認/活不下去的處境 隱喻香港本土民眾，但類似陳果《三夫》用🐔代表🇭🇰，首先這是一部電影，需要先看劇情內容，再來談敘事之外的暗喻或明喻。故事都沒講好，存在一些價值觀念和性別觀念偏頗，當然可以情緒性大力支持 花錢多看幾次衝票房，但就電影本身而言，也難以忽視其中的刻板與俗套。 龍Sir那句台詞，嘴上說自由開明 / 行為卻傳統保守，也同樣適用於評價本片。） 兩位演員在HKIFF首映前強調 雖演男男但自己是異男（喜歡女仔），片中異男群體詮釋的同志…

ChouZZ

至愛說：「如果《再見UFO》是正能量電影，那《我們不是甚麼》就是負能量電影。」 余以為，那種負能量是來自電影中的現實感。 電影透過一種不被允許的感情，去暗示另一種不但不被允許、也不能說的意識形態。 存在於同性之間的愛被邊緣化，明明都說「愛是最大權利」，明明是一種單純的感情，偏偏就會被親人、被同事、被陌生人、被世界所否定、被妖魔化，為了自身和身邊人的安全，當時人需要鼓起勇氣做違心的事，表面上很「正常」，實際上晚晚也在盤算如何面對、何時逃離這個世界。 然後，只要您閉上雙眼，將兩位主角換成另一種意識形態，就會發覺需要面對的都是同一回事。 電…

Muuuudyz Whylun

最佳編劇走唔甩 李惠敏女配無走雞喎 Herman火爆定點作，絕對peak，討論畀人恰要如何轉移同埋承受，累積成攬炒（絕望）觀念，又係咪鼓吹呢個風氣？ 踏血尋梅format 喜歡至極，龍sir呢個收線角色比城城更出師有名（屬同圈子的局外人） 燒焦呢回事係宏福苑呢個事件時距出黎之後，真係無得再好，啱啱收拾完情緒，係仔細調查/發現真相&還原事件嘅階段。 片中警方不斷的straight order「明唔明白」係直接取源於現實，但劇作要安排返由警隊去理解呢種反抗不能，睇清返自己嘅加害之處，而且直指其虛偽，實屬係出返一啖氣。 Herman…

MEDIUS

A shift away from Herman Yau’s recent run of bloated commercial blockbusters, which is a relief since those have been pretty hard to watch. I've always preferred when he leans all the way into extreme cinema, shock value, and pure gore. Stripping away the big budget action…

Realkinoshit

電影中真正的「刺點」，並非滿瀉到怕觀眾不明白導演氣憤的控訴，或是保守的性別、同性關係的描寫。當 AK 殺了父親倉皇逃亡之際，Anson B 在所住的地方樓下接應他；那一刻，最觸動人的並非兩人的對話，也不是那種以死明志的悲劇決心，而是握在他們手中那從便利店買來、還帶著微溫的玻璃樽維他奶。

Ar Nam Ho 何阿嵐

Take the rating with a grain of salt as this Hong Kong film is filled with the tropes of HK soap operas (I ask my Mom, “Why are they always shouting at each other?” and she shrugs). But in-between the histrionics and symbolism that fall like anvils is a story worth telling…

Cary NewYorker