Cinemyths

在干诺道中的咖啡厅观看，窗外的中环一隅正代表着香港的流速。从看到《香港制造》起就觉得陈果的影像节奏和这里本身的速率非常相契，或者说，它协同了这个城市其中一类可以被极化的特征。镜头中人物的运动被穿插在周遭瞬滞的特写间，个体只身地行进却复合了不绝如缕的宏大残像。它的成立需要一个可以轻松回归的现象锚点代表抽象的循环，而这部电影中的“烟花”非常工整地构成了若干进程的母集：因为对历史的记叙由于一次“回归”而变得无限离散，所以去年的烟花可以特别多。

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I watched the film in a cafe at Connaught Road; outside the window, Hong Kong had been attaching its vim to Central’s evanescent appearance. 

Chan’s shooting conveys a commensurate momentum against the city’s velocity; between the two strengths is a residue of air flowing within the establishing hodgepodge always ready to be accelerated into menacing mobility. Characters’ dynamic movements are shattered into the ephemeral yet taut stills surrounding them, along which the vicarious succession always reflects the impasse of a greater mirage. To achieve this, the narrative needs a procedural anchor capable of measuring the chaptered signification that gives each period mirage a thematic resemblance, and the recurring happenings of fireworks perfectly integrate those fragmented processions. 

Each firework scene stands for a divergence from collective linearization, and together, they’ve lasted a year long, bearing the clamor of the city’s return.

—— 2026.01.01