| The Hong Kong film industry, mired in financial crisis for several years now, has looked to several alternative strategies for survival: idiosyncratic, ultra-low budget films that are quick to produce, and less risky if they lose money (Made in Hong Kong (1997), 9413 (1998), Love Will Tear Us Apart (1999), The Accident (1999)); massive high-concept and high-budget spectaculars that aim to fill the SAR's theaters again (Stormriders (1998), and A Man Called Hero (1999)); and coproductions, with the mainland, European investors, or East Asian partners who still have money to spend.
Given the recent phenomenal flow of pop culture products between Japan and Hong Kong, in both directions, it's not surprising that prominent HK filmmakers like Lee Chi-ngai find themselves working on Japanese-financed films like Sleepless Town (others include The Christ of Nanjing (1996), Kitchen (1997), and Moonlight Express (1998)). Coproductions, though, can come with their own problems, central among them a set of mixed or conflicting agendas. |
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