Made in 2015, 'Ten Years' is a collection of stand-alone stories from different directors that speculate what Hong Kong might be like one decade hence. As such it is surprising the self-imposed authorities in Beijing allowed the film to be made, let alone screened, as most of the stories take a dim view of the Chinese Communist Party's stewardship of the former British territory.
Four of the five stories are interesting and enjoyable, so let's get the dross out of the way first: 'Season of the End', in which a dreary young couple collect specimens of smashed pottery, ash and the like in order to preserve them. Whether this refers to a fad in current-day Hong Kong I do not know, but there seems little purpose to the film, which meanders all over the place, including some ramblings about a holiday the pair took in New Zealand. Perhaps that is the last time they were happy; after sitting through this story, I know how they feel! It is interesting that the least political of the stories is the dullest.
Okay, on to the good stuff: In 'Local Egg' a shopkeeper wonders from where he will source his eggs following the closure of Hong Kong's last poultry farm, and also has to contend with his son's membership of a young communist group that reports deviations from approved labelling in shops. The prospect of children being used to inform on their elders is chilling but all too believable, and the actor playing the everyman grocer gives a nice performance of a man frustrated by petty regulations.
Another nice everyman performance comes from the lead actor in 'Dialect', in which a taxi driver finds his business shrinking because he does not speak well enough the officially-sanctioned Mandarin (Hong Kong's traditional language being Cantonese). This is another example of the Beijing authorities seeking to stamp out local distinctiveness (for an extreme example today, see Tibet). It is enjoyable, but for the viewer who speaks neither Cantonese nor Mandarin and is relying instead on the English sub-titles the full impact was probably lost.
'Extras' follows a plot by members of the Hong Kong elite to pave the way for Beijing to introduce a (presumably restrictive) national security law. Their plan is to shoot one of two politicians appearing at a neighbourhood rally. While discussions continue as to which politician to attack, the ethnic-Indian gangster charged with carrying it out tries to convince himself it will be a success. Shot in black-and-white, this is a suspenseful work.
'Extras' is very enjoyable, but it is beaten by a whisker as the best contribution by 'Self-Immolator', which seeks to assign responsibility for its former territory to the United Kingdom. As the story begins, we see the smoking remains of someone who has set themselves alight outside the British Consulate-General as part of a campaign to force the UK to challenge the Chinese authorities' behaviour. Using a mixture of straight drama and mock interviews, the film then goes back in time a few days, following the lives of various characters (including another ethnic Indian, this time a female student) one of whom, we are led to believe, is the suicide. There's a heart-breaking twist to this tale.
Overall this collection is politically rather one-sided: the only real acknowledgement that some Hong Kongers support Chinese control of the territory is in 'Extras', and I assume a bunch of people plotting assassination are hardly representative of most citizens of HK! But as long as the viewer accepts that (completely understandable) bias, this is - 'Season of the End' aside - a terrific collection of stories.
Four of the five stories are interesting and enjoyable, so let's get the dross out of the way first: 'Season of the End', in which a dreary young couple collect specimens of smashed pottery, ash and the like in order to preserve them. Whether this refers to a fad in current-day Hong Kong I do not know, but there seems little purpose to the film, which meanders all over the place, including some ramblings about a holiday the pair took in New Zealand. Perhaps that is the last time they were happy; after sitting through this story, I know how they feel! It is interesting that the least political of the stories is the dullest.
Okay, on to the good stuff: In 'Local Egg' a shopkeeper wonders from where he will source his eggs following the closure of Hong Kong's last poultry farm, and also has to contend with his son's membership of a young communist group that reports deviations from approved labelling in shops. The prospect of children being used to inform on their elders is chilling but all too believable, and the actor playing the everyman grocer gives a nice performance of a man frustrated by petty regulations.
Another nice everyman performance comes from the lead actor in 'Dialect', in which a taxi driver finds his business shrinking because he does not speak well enough the officially-sanctioned Mandarin (Hong Kong's traditional language being Cantonese). This is another example of the Beijing authorities seeking to stamp out local distinctiveness (for an extreme example today, see Tibet). It is enjoyable, but for the viewer who speaks neither Cantonese nor Mandarin and is relying instead on the English sub-titles the full impact was probably lost.
'Extras' follows a plot by members of the Hong Kong elite to pave the way for Beijing to introduce a (presumably restrictive) national security law. Their plan is to shoot one of two politicians appearing at a neighbourhood rally. While discussions continue as to which politician to attack, the ethnic-Indian gangster charged with carrying it out tries to convince himself it will be a success. Shot in black-and-white, this is a suspenseful work.
'Extras' is very enjoyable, but it is beaten by a whisker as the best contribution by 'Self-Immolator', which seeks to assign responsibility for its former territory to the United Kingdom. As the story begins, we see the smoking remains of someone who has set themselves alight outside the British Consulate-General as part of a campaign to force the UK to challenge the Chinese authorities' behaviour. Using a mixture of straight drama and mock interviews, the film then goes back in time a few days, following the lives of various characters (including another ethnic Indian, this time a female student) one of whom, we are led to believe, is the suicide. There's a heart-breaking twist to this tale.
Overall this collection is politically rather one-sided: the only real acknowledgement that some Hong Kongers support Chinese control of the territory is in 'Extras', and I assume a bunch of people plotting assassination are hardly representative of most citizens of HK! But as long as the viewer accepts that (completely understandable) bias, this is - 'Season of the End' aside - a terrific collection of stories.