Work-in-progress film project “The Remnant” is both a spotlight on those who feel powerless and also a very Hong Kong example of elements of the city pulling themselves up. “The Remnant” is one of …
It tells the story of a former gangster who, upon his release from prison, sets up a laundry in an anonymous district and lives a quiet life. After property developers try to grab a rundown building, young gangsters try to throw people out of the building, drug addicts cause trouble and the old-timer heeds his neighbors’ calls and fights back.
“People feel so helpless against the development of Hong Kong,” says producer Ding Yuin-shan, an alumnus of Johnnie To’s Milkyway Image and an independent for the last decade with credits including Soi Cheang’s “Motorway” and Tracy Choi’s “Sisterhood.” But opportunity emerged from the depths of the COVID pandemic, which was especially felt in Hong Kong and from which the city is only now emerging.
“Many new filmmakers in Hong Kong are focused on a cinema verite side of things,” says Ding. “This project does that, but it delivers a genre spin as well. One of the reasons I like this so much is that it has a really nice mix. Another reason it is so appealing is that it is a film that stands up for the old-timers and people who tell things like they are.”
Kwan’s film is very much a product of its time — not only its focus on the struggle between the little guy and the powerful property sector but also the way it portrays the resilience and adaptability of the people of Hong Kong.
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