| Overview: | If one were to present a story of a system and the conspiracies, various forms of oppression, conformity, violence and domination by the system and the attempts to challenge, attack, destroy and transgress it, RESURRECTION OF THE LITTLE MATCH GIRL as a type of conceptual mythology, a product of [social] conventions, is a challenge to escape from the ties that bind it and gain happiness in the end. Assuming that the system is a type of matrix, too difficult to find a way out, RESURRECTION OF THE LITTLE MATCH GIRL is an attempt to observe how the system is presented, how it is developed and maintained, and generate profit for the privileged. It is also an examination of status quo whereby a system which used to be controlled by institutions, power and ideology now created it own mythologies of Technology, a world where technology and finance rules and people have not choice but to accept it and denounce it at the same time.
RESURRECTION OF THE LITTLE MATCH GIRL approaches the world through a combination of technology and Taoism; the great master of Taoism, China‘s Chuangtzu's teachings and virtual reality. What we may call Technotaoism... The film is inspired by the poetry of the same title, yet takes the poetical piece one step further by constructing a narrative structure as unpredictable as Steven CHIAU‘s THE GOD OF COOKERY.
The film will maintain a simple storyline: the Little Match Girl who freezes to death in the Andersen‘s fairy tale is revived in an electronic game. She does not freeze to death, and eventually escapes the system that originally controls her fate, to a happy ending along with a good-for-nothing Ju who spends most of his time at the game room. Although the film aspires to be an experience of sheer entertainment, RESURRECTION OF THE LITTLE MATCH GIRL will probably refrain from the conventions continuously reproduced in Hollywood and Hong Kong cinema.
As a last note, the film will be a challenge in different production styles and production values by bringing a Hong Kong film crew to work in collaboration with the Korean film crew. This team will focus on the martial arts and special effects. Daniel LYU, a veteran producer in the Hong Kong cinema scene while working as co-producer of critically acclaimed film directed by Fruit CHAN, THE LONGEST SUMMER will be in charge of overall coordination of all productions involving the Hong Kong crew.
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