Ann Hui, a towering figure in Hong Kong cinema, was honored with the Camellia Award at the Busan International Film Festival, an accolade jointly presented by BIFF and Chanel to pioneering women who advance the role of women in Asian cinema. During her appearance, Hui offered a candid look at her journey, emphasizing the often-unsung support she received early in her career.
Beginning her professional life in the 1970s at Hong Kong broadcaster TVB, a renowned incubator for the city's New Wave filmmakers, Hui recalled the invaluable guidance of five women bosses. "I was lucky because my first five bosses really supported me, gave me freedom and support, and allowed me to do what I wanted with the TV programs I was making," she recounted. This early mentorship proved crucial, contrasting with her observation that she often learned less from her male counterparts, a dynamic she described with a touch of Buddhist karma.
Hui's filmography spans decades and genres, including the acclaimed 'Vietnamese boat people' trilogy (Below The Lion Rock, The Story Of Woo Viet, Boat People), and later works like A Simple Life (Venice Best Actress) and The Golden Era (Golden Horse Best Director). Her most recent documentary, Elegies, opened the Hong Kong International Film Festival in 2023.
Reflecting on the changing landscape for women in film, Hui noted her initial drive to tackle traditionally male-dominated subjects, such as 'cops and robbers,' to prove women's capabilities. However, her focus soon shifted to the "predicament of people in modern-day society," which naturally often involved women's stories. She observed a significant evolution: from just two or three active female directors in Hong Kong film when she started, the number has grown to between 10 and 20 today. Crucially, contemporary female directors no longer feel the pressure to adopt masculine habits or hide their femininity on set, embracing their gender and actively telling women's narratives, a development Hui finds "totally legitimate."
Despite expressing a degree of "jealousy" over the advancements in Korean cinema, Hui remains highly encouraged by Hong Kong's new generation of filmmakers. She lauded their dedication, hard work, and talent, believing they are poised to create superior films compared to the commercially driven, high-volume productions of the 1980s and 90s. This new cohort, despite facing investment challenges, pours immense effort into planning, resulting in high-quality content. She also highlighted a significant improvement in acting talent, with many young performers now emerging from the Hong Kong Academy of Performing Arts, bringing a solid foundation and professional ethics to their craft.
Approaching her eighties next year, Hui candidly admitted that filmmaking is becoming "more difficult." Yet, far from contemplating retirement, she affirmed her enduring passion. "My judgment and understanding has not been reduced, in fact experience gives you a deeper understanding," she stated, adding, "I still want to make films because I want to convey this new understanding that I have now in my work." Ann Hui's continued dedication serves as an inspiration, proving that experience only deepens the wellspring of creativity.