![]() with PTSD, with traumatizing experiences, with the need for help. “That’s our current state: We’ve got a lot of young people who have come to the U.K. “I think it opens another window of us looking into the movement, not only what has it achieved, where has it failed, but also what all those people have been experiencing and the traumas and the things they have to deal with afterwards,” Law said. While this wasn’t inaccurate, Law said “Faceless” can give a clearer image of the people behind the movement, can help explain why the protestors are willing to “commit themselves and even their lives” in defense of democracy. News broadcasts provided a wider audience with a view of the protests as millions of people marching, with petrol bombs flying over the city. We’re always being doubly ostracized in a political, social and linguistic terrain,” Fan said.Īs conversation turned back to “Faceless,” politician and activist Nathan Law noted the documentary’s importance in reducing a massive movement to an individual level. I would almost say that in 2019 the question becomes extraterritoriality. “We are beginning to see that there is almost no way by which we can negotiate that status of de-subjectivization, de-individuation and de-autonomization. Victor Fan from King’s College London provided further context as to how Hong Kong has been “doubly occupied” by the competing colonial forces of the U.K. Looking at the way that civil society has been cracked down on in the mainland left a lot of people saying, well Beijing is prepared to do these things illegally, if they can do them legally, what door are we opening?” “There was a very real fear that this wasn’t just about extradition, this was about our own personal security. “In 2019, what we saw wasn’t just people getting worked up and worried about the extradition bill, it was really the culmination of 20 years of building pressure in Hong Kong,” Fowler said. government and the People’s Republic of China, to the Umbrella Movement of 2014), which forged the seemingly impossible situation Hong Kong finds itself in today. The panel opened with Evan Fowler, co-founder of the Hong Kong Free Press, giving a brief overview of Hong Kong’s recent tumultuous history and focusing on several key events (from the 1997 handover between the U.K. It’s not a judgment on whether something they’ve done is right or wrong, it’s just saying that these are human decisions, there are human lives we’re dealing with.” ![]() It’s a faceless movement, everyone is covered up, but we’re trying to show you those faces behind the masks… trying to show what makes us human, what makes these people, people. “It’s a play on the many different things we need to juggle. ![]() “Trying to tell these personal stories without telling you who they are, that was really tough for me, and in the end, after months of struggle, we decided on the name ‘Faceless’,” she said. Many of the hardest decisions about how much of people’s faces to show and what parts of their stories to reveal came in the edit, Ngo said. It’s a grim, twisty little film that’s worth the time and attention that it requires.On a day-to-day level, Ngo said the priorities while shooting were to make sure no one got hit by tear gas, no one got arrested, and that the crew were in the right place at the right time to capture the raw, emotional events as they unfolded. Much of the film’s effectiveness comes from not knowing what’s going on, or even what’s real, at a given moment While not as challenging or transgressive as Deadgirl, Faceless certainly doesn’t fit the mould of a normal thriller or horror film. “It’s one of those films that the less you know going in the better you’ll enjoy it. Some may be disappointed with the lack of boundaries being pushed, but not every project from every filmmaker needs to startle or confront.” The Hollywood News There’s no huge stylistic flourishes, but this is a film that isn’t trying to reinvent the wheel, and it’s far more concerned with letting the story speak for itself. “Technically, Faceless isn’t very showy, focusing more on being structurally sound and put together. ![]() While its finale is slightly convoluted Faceless will certainly keep audiences guessing until its fight or flight conclusion.” Bloody Flicks “ Faceless feels plucked out of the Cronenberg guide to body horror with a sprinkle of noir for good measure. With no end in sight and nobody to turn to but a mysterious woman named Sophie (Alex Essoe), George must overcome his flashbacks, unexplained daily occurrences and a persistent, masked stalker to put the pieces together before it’s too late… ![]()
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