2013 | Cantonese | DCP | Color | 120min | Chinese Subtitle
Director: Adam Wong．Scriptwriter: Chan Tai-lee, Saville Chan, Adam Wong．Cinematographer: Cheng Siu-keung．Editor: Adam Wong, Kevin Chan．Art Director: Ahong Cheung．Music: Day Tai, Afuc Chan．Choreographer: Shing Mak
Cast: Cherry Ngan, Babyjohn Choi, Lokman Yeung, Janice Fan, Tommy “Guns” Ly
Producer: Saville Chan, Wong Yat-ping．Production: Eyes Front Pictures．World Sales: Golden Scene Co.
Dance-crazy Fa finally leaves the unglamorous life of her parents’ tofu shop when she enters university and joins a hip-hop dance club. She stumbles into the world of dance competitions, sparking a love rectangle between herself, the club leader, a fellow dancer, and an aspiring tai-chi master. But despite injuries to her heart and body, the show must go on. Director Adam Wong shines a light on new talent and local culture with this winning and exuberant ode to youth.
Date: 13/8 (Sunday)
Venue: HK Arts Centre Cinema
Post-screening discussion with director Adam Wong
Free admission for all screenings. Tickets are available to public on-site 30 minutes prior to each screening on a first-come, first served basis. Limit to one ticket per person.
The idea of making a dance film sprang from a patch of open space in front of a convenience store at the Polytechnic University. A few years back […] I used to go there with my partner to find a spot to sit and chat about our scripts. There was always a group of dancers practicing their moves outside the store. I asked around and learned that the university’s dance troupe, having been denied the use of rehearsal space a few years before, had transformed the space into centre stage for perfecting their dance routines. Touched by their passion, I went ahead and visited several other dance venues.[…] I banged out the first draft of the script, only to be disheartened by my peer’s remark that a dance film made by a Hong Kong filmmaker wouldn’t go down well with local audience since we could never make one on par with those by our Western counterparts. After a while, when my enthusiasm was all but dissipated, my producer and I—armed with the script and a pile of research material—chanced upon Winnie Tsang of Golden Scene at a film-financing event. Showing great interest in our presentation of The Way We Dance, she left us with this parting line: “I’m most interested in things dismissed by others as impossible.”