Film Name: 追女仔95之绮梦 / Romantic Dream
Drawn by the “chasing girls” tagline, I found something entirely different. A poor guy falls for a rich girl—isn’t that a tired plot? Hold on—the real show doesn’t kick off until halfway through.
Chinese culture values artistic conception, so we don’t need brooms or carpets to defy gravity—our ancestors mastered the art of soaring through clouds. In 1990s Hong Kong, such fantastical elements were commonplace—supernatural abilities featured in films like “God of Gamblers,” “God of Gamblers II,” and “From Beijing with Love.” So while Nolan and DiCaprio needed high-tech gear to enter dreams, ordinary Hong Kong citizen Mr. Liu simply needed a tap on the forehead from a special agent to roam freely within dreams. This was far cooler than Inception, with the only difference being that the dream subject would also be dreaming simultaneously—though at a steep price: one hundred taels of gold per session.
“Gravity” and “The Martian” are excellent films. Yet when some viewers practically have “hard sci-fi” tattooed on their foreheads, fixating solely on physics and astronomy while watching a movie, I find it putting the cart before the horse. After all, how could even the most hard sci-fi film rival the authenticity of educational videos? Given this, I suggest those viewers stick to CCTV-10. Leave CCTV-6 to us ordinary folks who love a good fantasy.
I hold a deep affection for Hong Kong cinema from the 1980s and 1990s, nostalgia undoubtedly playing a significant role. To be fair, most films from that era were poorly made—some reportedly shot in just three days. Yet precisely because of this, the Hong Kong films I remember often depicted the joys and sorrows of ordinary people. Having grown up in the city streets myself, I’ve always been drawn to such stories.
While Hong Kong crime thrillers boast many masterpieces, it’s the gritty, street-level films that truly capture the city’s essence. For it’s the life in its alleys and lanes that gives a city its vitality—the real wellspring of artistic inspiration, whether you’re a writer, painter, or filmmaker.
These gritty Hong Kong films aren’t complicated. Lovers find their way back together. Even when the male lead becomes wealthy after losing his beloved, he never forgets his roots. Years later, when Dick Cowley’s “How Many Loves Can Once More” plays during their reunion, a corner of my heart truly stirs.
Within an hour and a half, we witness romance, fantasy, and of course, brotherhood. The last-minute reversal of the seemingly idle friend feels entirely plausible. Yet Hong Kong cinema during the “Asian Tigers” era remains fundamentally sunny. So when the roar of Ferrari engines fills the air, the protagonists inevitably return to reality.
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