MOViE MOViE Magazine #73 - ANATOMY OF A HAUNTED HOUSE
ANATOMY OF A HAUNTED HOUSE MOV i E-MOV i E-MAGAZINE #73 FOR MOVIE LOVERS
PUBLISHER
MOViE MOViE
EDITORIAL DIRECTOR
PHOEBE CHIU
CREATIVE DIRECTOR
RENATUS WU (EDITED.HK)
CHIEF EDITOR
WAI SAN YUEN
EDITORS
PINKY HO
ELFA HO
HONGYIN LUO
ELAINE SHAM
ENGLISH EDITOR
KEVIN MA
DESIGNER
TUEN SIN KUEN (EDITED.HK)
JOYCE WONG (EDITED.HK)
ILLUSTRATOR
JENNY TSOI
SPECIAL THANKS
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about movie movie
movie movie 於 2012 年與觀眾首
次見面 ，將百老匯電影中心的 精髓帶到觀眾家中 ，成立了只 此一家的國際電影頻道及串流 平台 ，讓大家隨時隨地能透過 now tv ch116 或應用程式 欣賞 獨家首輪人氣猛片、國際影壇得 獎傑作 ，以至口碑載譽不朽 經典 ，看盡電影的美好 。隨後 分別於 2017 年及 2020 年再推出 融入藝術 、文化與生活概念的 戲院movie movie cityplaza 及 movie movie pacific place 提供 多元文化觀影體驗。以後不論身 處何方，看電影從此不一樣。
所有文章內容僅代表作者個人 觀點及意見，並不代表本刊立場 the views, information, or opinions expressed in the magazine are solely those of the individuals involved and do not necessarily represent those of movie movie
In January, MOViE MOViE is proud to spotlight Josie Ho as our Filmmaker in Focus. Across both our movie channel and cinemas, we will present a captivating showcase of her work. Tune in to the MOViE MOViE channel (NowTV Ch116) for a selection of five films featuring Josie, including four exclusive premieres in Hong Kong. We are also excited to announce a limited re-release of her iconic work from 15 years ago, the international version of Dream Home, offering a chance for audiences to rediscover an artist who consistently transcends boundaries.
Josie has been working in the entertainment industry for three decades, and her film company, 852 Films, is approaching its 20th anniversary. With over 60 film projects to her credit, Josie is not only an accomplished actress, but also a singer, producer and investor who has demonstrated a profound dedication to the arts. Her unique personality and commitment to artistic integrity empower her to embrace unconventional roles, breaking new ground while showcasing a one-of-akind charisma.
Refusing to conform, Josie actively takes on independent and arthouse films. She even went beyond acting by establishing her own production company to invest in and produce experimental and socially relevant works. Her choices reflect a deep alignment with a filmmaker’s vision rather than being driven solely by market demands. Josie’s unwavering support for Hong Kong’s independent film industry helps to create opportunities for emerging directors, actors and production teams, all while enriching the diversity of Hong Kong’s cinematic landscape.
Josie Ho’s authentic persona and distinctive approach have left an indelible mark on Hong Kong cinema. It is only fitting that her films get the spotlight this January on MOViE MOViE!
In a world where humanity has lost the ability to dream, one creature remains entranced by the fading illusions of the dreamworld. This monster, adrift in reverie, clings to visions no one else can see — until a woman appears. Gifted with the rare power to perceive these illusions for what they truly are, she chooses to enter the monster’s dreams, determined to uncover the truth that lies hidden within.
In summer, Nagisa, a woman from the city, and Natsuo, a young man visiting his relatives, meet by the sea. Their vacant gazes reflect each other as they exchange awkward words and wade into the rain-drenched ocean. In winter, Li, a screenwriter in a creative slump, travels to a snow-covered village with an old camera left behind by a late acquaintance. There, she finds a peculiar, desolate guesthouse run by the enigmatic Benzo. Their conversations rarely connect, yet they set off on an unexpected adventure. Based on two stories by Yoshiharu Tsuge, Sho Miyake’s Golden Leopard winner humorously captures the primal joys of journey and the quiet absurdity of being human through striking landscapes, fleeting encounters, and inexplicable moments of oddity.
A father and his son arrive at a rave deep in the mountains of southern Morocco. They’re searching for Mar — daughter and sister — who vanished months ago at one of those endless, sleepless parties. Surrounded by electronic music and a raw, unfamiliar sense of freedom, they hand out her photo again and again. Hope is fading, but they push through and follow a group of ravers heading to one last party in the desert. As they venture deeper into the burning wilderness, the journey forces them to confront their own limits. Winner of the Jury Prize, the Soundtrack Award and the Palm Dog Award at the 2025 Cannes Film Festival.
Following the death of his wife, a young father’s hold on reality crumbles as a seemingly malign presence begins to stalk him from the shadowy recesses of the apartment he shares with his two young sons. Based on the award-winning novella by Max Porter. Official Selection, Sundance Film Festival and Berlin International Film Festival.
Best friends since they were kids, Doug (Jack Black) and Griff (Paul Rudd) have always dreamed of remaking their all-time favorite movie: the cinematic “classic" Anaconda. When a midlife crisis pushes them to finally go for it, they head deep into the Amazon to start filming. But things get real when an actual giant anaconda appears, turning their comically chaotic movie set into a deadly situation. The movie they’re dying to make? It might just get them killed…
If life is a football match, her first half was definitely a victory.
After losing her fortune in a botched crypto scheme, Hay Man (Gigi LEUNG) reluctantly moves in with her cousin’s family. However, she sees a financial opportunity arise when her wealthy friend Alex (LING Man Lung) seeks to prove himself to his father by organizing a football match.
Determined to make a difference, Hay Man recruits her cousin Ying and several underprivileged children to form a team. She also enlists former football star Siu Ho (CHAN Charm Man Peter), who became disabled from an accident, as their coach. As the league opener approaches, Ying, filled with confidence, leads the Aspire Football Club into battle against the formidable Rising Sun Football Club. Unfortunately, they suffer a devastating loss.
Undeterred, Hay Man steps up to encourage the children. She trains them in fitness and teamwork, gradually building a bond. Inspired by the children’s resilience, Hay Man seeks to redeem the second half of her life by rewriting the narrative for more children in need of support and hope.
In Asia, a mysterious assassin organization operates under the guise of a noodle shop, serving as a hidden haven for killers in a bustling city. Assassin No. 4, orphaned at a young age and raised in the noodle shop, is sent to Japan to eliminate a yakuza boss. However, he is unexpectedly ambushed by his client, a Japanese girl seeking revenge. To exact her vengeance, she spares no expense in hiring the assassin and attempts to enlist No. 4 in her grand revenge plan, only for their actions to inadvertently provoke a relentless pursuit by the yakuza that puts both their lives in danger…
邀請了各路好友為大家推薦
《虎膽龍威》(DIE HARD) 1988 和爸爸多次翻煲此片是我深刻的童年回 憶。CHRISTMAS MOVIE常有的搞笑、溫情、 團圓、聖誕帽、HO HO HO，這部電影應有盡 有。每次看到主角終於與大氣電波戰友相認 的一刻，我都會受感動。人與人之間的無形 連結，咪就係體現「聖誕精神」。長大後才 知有人堅拒將此片歸類為 CHRISTMAS MOVIE，這些分類有必要這麼嚴謹嗎？ 《THE SNOWMAN》1982
《風林火山》 (SONS OF THE NEON NIGHT) 2025 聖誕節感受一下落雪的香港。
歌手 SOPHY 王嘉儀
Christmas is... Christmas is...
演員 丁彤欣 丁丁
《初戀無限 JAM 》 (SING STREET) 2016
集熱血、青春、迷失於一體，仲帶我返 80 年 代嘅搖滾世界。如果你都想係年底搵返勇敢 嘅自己，聖誕就搵返黎睇。“ THIS IS YOUR LIFE, YOU CAN GO ANYWHERE. YOU GOTTA GRAB THE WHEEL AND OWN IT, YOU GOTTA PUT THE PEDAL DOWN. AND DRIVE IT LIKE YOU STOLE IT. ”
曾聽 《 維多利亞壹號 》在烏甸尼遠東電影節 放映時 ，有觀眾受驚至暈倒 ，足見作品的震撼性 及衝擊力 。 MOViE MOViE 特選在電影上映 15 周 年 ，在一月份為大家帶來從未在香港上映的《 維 多利亞壹號 》（ 國際版 ）。詳情會在 MOViE MOViE 社交平台上公佈 ，場次有限 ，請把握機會 ！ 2007 年 ，樓價飆升 ，本來快要儲好首期的鄭麗 嫦又再錯失買樓時機。飽授挫折的麗嫦終被逼入 絕境 ，她決定潛入「 維多利亞壹號 」，展開一場腥 風血雨的殺戮 ，務求令單位變兇宅而減價 。
DREAM HOME
Dream Home is returning to the big screen! So violent that it reportedly sent three shocked attendees to the hospital during its screening at the Udine Far East Film Festival, the international version of Pang Ho-cheung’s notorious slasher is being shown in Hong Kong cinemas for the first time by MOViE MOViE for the film’s 15th anniversary! For details, stay tuned to MOViE MOViE’s social media feed. Screenings are limited, so don’t miss out!
The year is 2007. Cheng Lai-sheung is about to have enough for a down payment on a flat, but her dream is dashed once again by skyrocketing property prices. Driven to the brink of desperation by repeated setbacks, Lai-sheung decides to break into her dream home and launch a bloody slaughter, because nothing sends property prices plummeting faster than a few murders.
JOSIE HO
Once an elite badminton player renowned for her killer instinct on the court, the fiery Ng Kau-sau has been living aimlessly since her expulsion from the sport a decade ago. She has been holed up in her family’s restaurant, handling daily chores and getting out of shape.
One day, Sau is publicly humiliated and beaten up when she encounters Wong Fei-fung, the hottest badminton player at the moment. Just as she is contemplating suicide, Sau meets a quartet of eccentric characters who appear to come straight out of a martial arts novel. Though the quartet used to be notorious robbers a dozen years ago, they turned a new leaf after their release from prison and founded the Lau Dan Badminton Club. After they reacquaint Sau to the glory of the badminton game, she decides to enter an amateur badminton tournament to revive her fighting spirit.
In the dead of winter, a group of musicians from Hong Kong, led by Josie Ho and her band Josie & the Uni Boys, arrive in this snow and wind-swept nation to look for the most elusive thing on Earth — Happiness. They learn to abandon inhibitions and embrace discomfort in this land of fire and ice, not caring about looking silly while indulging in laughter and play. With local musicians, they take to the stage, the environment most familiar to them, and sing the theme song of Once Upon a Time in China.
In 1839, Brooke flees a romantic scandal to explore the tropical wonders of Borneo. Eager to use his cannons, Princes Bedruddin and Makota welcome him with open arms. Brooke falls under the spell of Fatima, a Malay noble, until a brutal pirate attack shatters his dreams of paradise. With a fleet of Malay, Dayak and Chinese warriors, Brooke attacks a rebel fort. Despite a resounding victory, Brooke realises that he had been standing on the wrong side all along.
Mads is a street-smart party girl who lives with her two best pals in Los Angeles, and works as a drug runner for Eric, a washed-up Hollywood star. When the cash they owe to Eric gets stolen, the three young women decide to hide out by masquerading as nuns. To escape the retribution of an even more dangerous drug lord, the three sexy “sisters” have to start kicking ass in order to survive! Habit is a high-octane black comedy that is bloody, cool and beautiful to look at.
Sarah travels to Japan seeking to buy an investment property and have a brief holiday on the heels of a bad break-up. However, things start to go terribly immediately after her arrival. After learning that her hotel booking has been cancelled due to a reservation error, the real estate company places her in a minipaku, a private and seemingly abandoned residence rented out to short-term guests.
When Sarah checks in, she finds that it’s run by an elderly woman who bizarrely seems to recognise her. In fact, she seems to have been expecting her
何超儀訪問
RAJAH FINDING BLISS FIRE & ICE
MM 今次成為 MOViE MOViE 電影頻道的「 焦點 影人 」，妳有什麼感受 ？ J 我非常感激 ，也很感動你們還記得我。我很 多作品在戲院落畫後 ，很難在串流平台上找 到 ，我一直希望更多粉絲和觀眾能看到我的 作品 。
My selection is a reflection of my two biggest passions as a film lover: Asian futurism and my deep appreciation for well-crafted, high-impact foreign films. This list perfectly bridges those two interests:
The Pillars of Asian Futurism:
《原罪犯》(Oldboy) : While not a traditional sci-fi, Park Chan-wook’s masterpiece is a cornerstone of modern Asian cinema. Its hyper-stylized visuals, non-linear narrative and brutal exploration of revenge create a world that feels both gritty and futuristic. This digital restoration is the perfect way to re-experience its raw power.
《攻殼機動隊》(Ghost in the Shell)：
This is more than an anime; it’s the definitive cyberpunk experience. It laid the groundwork for the entire genre and remains the gold standard for exploring profound questions about identity, consciousness and technology in a futuristic society.
《 阿基拉 》 (Akira) : Another monumental anime that defined“cool"for a generation. Its vision of a decaying, neon-drenched Neo-Tokyo is iconic. The sheer scale of its animation and complex story set a benchmark that is still unmatched.
準備並烹調配菜（ 30 分鐘 ）
13. 將薯仔 、紅蘿蔔 、白蘿蔔去皮及
清洗乾淨 ，然後切成均等形狀
14. 取出 4 杯 ( 約 1 公升 ) 高湯 ，將
薯仔 、紅蘿蔔 、白蘿蔔燉煮至喜歡 的軟硬程度
Top-Tier Foreign Action & Spectacle:
《 復仇殺姬 》 (The Protégé) : I chose this for its slick action and the compelling dynamic between Maggie Q and Michael Keatonʼs characters. A solid, entertaining assassin thriller that delivers exactly what you would expect from the genre.
《奇異女俠玩救宇宙》(Everything Everywhere All At Once)：This film is a phenomenon for a reason. It takes the mind-bending concept of the multi-verse and fills it with heart, humor, and incredible Hong Kong-style action choreography. A wildly creative and emotionally resonant film that truly deserves all its acclaim.
Socrates wrote, “An unexamined life is not worth living.”
Director Ryuya Suzuki seems to have taken it to heart when he conceptualized Jinsei, a film that quite literally depicts one man’s entire life, from cradle to grave.
Just as we feel deluged with biographical films (music biopics, I’m looking at you), Suzuki has come up with an audacious reinvention of the genre, even though his story is entirely fictional.
kevin ma
Kevin Ma is a writer and English subtitler in the film industry, and the Hong Kong Consultant for Italy’s Udine Far East Film Festival. He was an English Editor at YesAsia.com and the Entertainment Editor of Cathay Pacific’s inflight magazine. He has contributed to publications by the Asian Film Awards. South Korea’s Bucheon International Fantastic Film Festival, Poland’s Five Flavours Film Festival, Hong Kong International Film Festival, Hong Kong Asian Film Festival and the Hong Kong Film Archive.
One magical thing about film is its ability to manipulate time through the art of montage. With a single edit, we can jump years into the past or the future, or even light years to different planets. For example, the biggest time leap between two scenes in cinematic history is Stanley Kubrick’s 2001: A Space Odyssey, in which the film jumps millions of years from its prehistoric Earth-set epilogue to the image of a satellite orbiting space in the future.
While it doesn’t jump through millennia, Jinsei (which means “life” in Japanese) does manage to get through a century’s worth of story into a tight 93 minutes. The film literally starts with the meeting of our protagonist’s parents, then shows every major phase of his life until his death far into the future (more of this later).
And what a life he leads. The protagonist who is called several names throughout his life is orphaned at a young age when his mother dies in a freak accident involving a careless elderly driver. In high school, he meets a transfer student who convinces him to audition together for a male idol group managed by a shady music mogul not unlike a certain late J-pop mogul who dominated the headlines just a few years earlier. However, surviving the dark side of the entertainment industry is nothing for our hero compared to the neardeath experience and his outlandish claim to fame he experiences afterwards.
Suzuki uses the evolution of his protagonist (voiced by rapper Ace Cool) to touch on Japan’s social issues, such as the aforementioned elderly driver issue, school bullying, the grooming and exploitation of young idols, the price of celebrity, and war. Much like how our lives unfold in phases, the protagonist’s life is told in ten chapters that subtly differ in framing, editing and even color palate.
As impressive as Suzuki’s storytelling is the most remarkable thing about Jinsei is actually the fact that Suzuki created the entire film all by himself on his tablet over 18 months after moving back home to Sendai and finding minor success with animated shorts on YouTube. Despite the almost zero-budget production, Suzuki follows the footsteps of his producer Ongaki: Our Music director Kenji Iwaisawa by turning the lo-fi nature of his film into a part of its charm. The “camera” almost never moves as scenes play out like series of tableaux, with characters moving like they are on a separate layer over the backdrop. The animation is nowhere nearly as sophisticated as typical commercial productions, but even the characters’ jerky and repetitive motions have a humorous charm that become part of the unique aesthetics.
Suzuki’s biggest artistic swing comes in the finale, when he unveils a vision of the future that is at once enigmatic and visually arresting, like a curious blend of surrealist cinema told in the style of modern art. As straightforward as Jinsei’s narrative moves, its direction defies expectations and genre conventions at every turn. It is sad, dark, humorous, violent and even a little scary at times. For a film that runs through the whole gamut of emotions, perhaps it’s not so surprising for Suzuki to end his film in such a disorienting way. Kubrick would’ve been proud.
If Jinsei put you in the mood for animation that strays from the mainstream, the new 4K restoration of Mamoru Oshii’s Angel’s Egg also premieres this month on MOViE MOViE. Co-created by Oshii the creator of classic anime such as Ghost in the Shell and the Patlabor series and artist Yoshitaka Amano, Oshii’s allegorical and almost dialogue-free post-apocalyptic fantasy was rejected by mainstream audiences and even set Oshii’s career back for years. However, it became a cult classic thanks to praise by Oshii’s peers in the industry, critics and die-hard fans. Those who can adjust expectations and embrace Oshii’s cryptic storytelling will go on a poetic journey by a visionary filmmaker who, like Ryuya Suzuki, defied mainstream convention to realize his imagination.
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