KOCHI: Veteran filmmaker and this year’s IFFK Lifetime Achievement Award winner, Ann Hui, has a work life akin to a steady stream, finding its way through the most tortuous terrains. At 77, accolades sit lightly on her shoulders, matched only by her steadfast attitude to prioritise work over all difficulties.
She has witnessed decades of life unfolding around her, as Hong Kong her place of origin transitioned from colonial rule to the grip of an Asian giant. Ann has navigated through films, academia, and television assignments with unwavering focus. Yet, she remains unfazed by the recognition, her heart still awaiting projects that inspire her to work again, albeit more slowly than before.
TNIE caught up with Ann on the sidelines of the 2024 International Film Festival of Kerala (IFFK) for a freewheeling chat. Excerpts:
How do you view your journey so far?
Filmmaking is quite difficult, but I have never dwelled on the challenges. Each person’s journey is unique. People often calculate how much to give to their career, but I have never done that. I am unmarried – I am not very popular with men, they think I am too loud (laughs). So I gave all that I had to the field I worked in.
You come from a region with geopolitical identity issues. Has this influenced your films, which often explore themes like identity crises in relationships and personalities?
Of course. I grew up in a middle-class family with economic and cultural standing, and healthy aspirations for children. But the society around me carried contradictions — there was a split between reality and what we studied.
For example, we spoke Cantonese but were taught in English. We read about lifestyles, like afternoon tea, which were alien to our culture. This was disorienting as a child.
Later, I found it agonising that my Chinese wasn’t good enough to write creatively, yet my English wasn’t native-level either. As someone with literary aspirations, this phase was unsettling.
You explored these themes in films like 'A Simple Life', 'The Way We Are', and 'All About Love', didn’t you?
Yes. As children, we were told not to worry about such contradictions, just to study, get a certificate, and secure a job. But excelling at something is never easy. This conflict and split were disturbing, and they motivated me to tell stories.
Coming from a background with limited filmmaking exposure, how did you enter the field?
It was partly fate. The agony I mentioned earlier — this split between reality and language — drove me. During my master’s studies, I found the split unbearable. I couldn’t be the writer or critic I wanted to be. So, I turned to film studies as an escape rather than a solution. It proved to be a lucky decision when I found work in the field.
You have worked as a teacher and in other areas of visual media as well…
I started tutoring during my master’s programme and returned to teaching when I was between jobs. Filmmaking, unlike writing, is a universal language, and it offered a smoother, less conflicting way to express myself. Collaboration with others also suited me, as I never saw myself as a creative genius. It all worked out well.
You seem to have been constantly at work…
Perhaps, but I never noticed it while working. It wasn’t back-to-back or simultaneous projects. I finished one before starting another. After A Simple Life, I thought of wrapping things up, but a good project came along, and I started working again. Now, I might stop soon. My health and energy levels aren’t what they used to be. I plan to switch to producing and take things a bit easier to find time for myself.
The aptly named documentary 'Keep Rolling' presents you as your harshest critic…
That’s because my standards are high. If I match myself with many directors, there may be very good ones, and ones not so good. For me, it is just good to be working and be happy in my work. Having a purpose isn’t that crucial – it’s okay even if one doesn’t become a great director (laughs). In fact, not aiming for greatness eases a lot of pressure.
‘I do not care about my works getting banned’
But you are revered as a veteran now with many accolades and lifetime achievements…
I am not being humble, but I feel I have more recognition than I am worth (laughs). I never thought my work would be successful. Looking back, I wish I had been more clear-minded and planned better, so I wouldn’t have had to work so hard.
You were part of Hong Kong’s ‘New Wave’, but also worked on mainstream films. How did that happen?
That was out of necessity. I needed to earn money. After working on mainstream films, I returned to my own style. Many directors make films like mine, so I’m not unique or the sole initiator of the New Wave.
Do you feel Asian filmmakers like you are under-recognised compared to their Western counterparts?
I was offered work from the West but… I am very practical. I didn’t have ambition for an international market. That calls for a lot of work, understanding what the audience there wants. I have not lived there, didn’t not know the culture there. There were several of my contemporaries who went to Hollywood (like Jackie Chan) and came back after a while. For me then, the language and the culture were different, and I couldn’t work without these on many subjects like the ones back home. Now, crossovers are easy, thanks to technological aid and with presence of Asians everywhere.
Your works from 'Boat People' to 'Song of the Exile' to 'My American Grandson' shows you shifting from an apparent journey to one that is within. Is it because you didn’t want to speak about conflicts outside?
It wasn’t deliberate. I am drawn to different things at different times. If one project doesn’t work, I move on to another. I never sought perfection; I focused on improvement.
You have said you were raised to be apolitical despite living in politically charged times…
Yes, I am quite ignorant about local politics. My films reflect the personal lives of those involved in politics rather than politics itself. I am still confused about political matters but may consider taking a stand someday (laughs).
How has Hong Kong changed for you?
I prefer not to discuss Hong Kong politics publicly. I am cautious about expressing views on it.
But your movies ruffled political feathers in China and Taiwan. Some were banned too…
I don’t care. I make a film and even if it is banned before release, it is okay for me. On TV, my first drama episode was banned because it was on a sub judice matter. I have never bothered about such responses. My response was surprising to me as well because my career was just starting. People spoke of how it could affect my future. But I was very calm about it. I thought it was okay. I just shelved the matter and continued working on my next project. I don’t care about outcomes.
So, nothing upsets you?
Not really (laughs). I stay focused on work. Nothing has bothered me, except the audience’s response. I am that way in real life too. If I lose something valuable, I don’t dwell on it. Once I was robbed of $10,000 dollars in China. It was to get myself a room in a hotel room to work with a script writer there. I got more money from the bank and finished my work without telling anyone. I did not want to waste time. I usually do not worry about loss of any kind.
What do you feel about the awards and accolades that have come your way?
Earlier, I was more concerned about work opportunities. I used to go to festivals and events to network. Not anymore. Now, I am more appreciative of the awards given to me, though I don’t consider myself a senior or veteran. The times I feel like a veteran is when I fear slipping and falling… that I have to go to bed before 12 and such things (laughs).
How has the new age treated you, or rather how comfortable are you in it?
I find it very funny… all of you respect me here but back home, I suggest something, they reject it. They do not have enough confidence but they prefer to make mistakes themselves rather than ask seniors. I used to ask my senior technicians for guidance in my younger days. But nowadays, people feel Youtube can answer all questions. I do not criticise them, and am happy that even if not respected, I am not discriminated against.
That is quite a spiritual state…
No. Being accepted is enough, even if I am not revered.
Any collaborations with Indian filmmakers in the offing?
Maybe I would, but I don’t know the culture. But then, some stories go beyond culture.