Along with Wong Kar-wai and other directors, Fruit Chan (1959, Guangdong, China) represents the so-called second generation of Hong Kong filmmakers. In The Midnight After, Chan returned to the director's chair after a nearly 10-year break he spent mostly by producing. His early films, most of them social dramas, portray poverty primarily as the result of profound social changes. As a director, he discussed the 1997 handover of Hong Kong from British hands to Chinese administration and the related feeling of lost freedom in a triplet of films – Made in Hong Kong (Heung Gong jai jo, 1997), The Longest Summer (Hui nin yin fa dak bit doh, 1998) and Little Cheung (Xilu Xiang, 1999).
IFF Bratislava
