編按： Evan 在本文之中評論英國導演杜浩綸 (Matthew Torne) 最新紀錄片作品《分域大道》，他認為《分》雖然某些部份節奏太慢，但整體捕捉到 2014 年後的香港民主與身份認同的政治多樣性，是罕見誠實、有深度的政治紀錄片 。
Evan reviews Matthew Torne’s new documentary film, and finds a film that despite being slow at times dares to capture the diverse nature of the politics of democracy and identity in Hong Kong post-2014 with a rare honesty and depth.
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Last Exit to Kai Tak, which has its Hong Kong premiere today (26.9) at the Hong Kong Arts Centre, is British filmmaker Matthew Torne’s third documentary film on Hong Kong’s increasingly complex pro-democracy movement. Torne’s new film expands on the narrative of his previous films, Lesson’s in Dissent (2014) and Joshua, Teenager vs. Superpower (2017), which won an audience award at the Sundance Film Festival, in a way that mirrors both the changing circumstances and social and political complexities of Hong Kong as well as the directors own maturity.
The late Christopher Hitchens was once asked whether he believed in free will. His reply was classic Hitchens. “Well I have to say yes.”
Sam Harris, a friend of Hitchens, would no doubt have laughed approvingly. Whilst Harris may lack his friend’s witt and encyclodepic knowledge, he does have a focus and a sombriety that does add substance to the argument. His style is simple, engaging and unashamedly popular. What he lacks in detail and supporting argument he makes up with a tight focus on what is relevant to what he is proposing.
My earliest memories of Christmas are of being at my grandmother house in the UK. I remember sitting in what felt like a large, cold room. A sheepskin rug laid over the carpet and close to where two radiators met marked my territory. Here I would spend much of the day reading, drawing or constructing model aeroplane kits. An old clock would tick away the silence, counting down time in-between those arranged activities my father had prepared for me.