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.
Hong Kong has a lot going for it. Victoria Harbour is world renowned, a natural and man-made haven that has sheltered a variety of merchantmen from stormy weather.
The city of the same name, once perched precariously on the steep slopes of mountains that rise majestically from the South China Sea, now stands a beacon of modernity — and yet, between its towering skyscrapers, streets and alleyways full of business, life continues.
Then there is Kowloon, the sister city across the water, built in the shadow of the Lion Rock. It is a city developed along connections, between roads that once ran from the waterfront fort to the colonial boundary, and others that long ago linked local settlements and clans to the North. Through its heart runs the first boulevard in China, Nathan Road.
The government’s 2018 budget address has generally been positively received. Paul Chan, the Financial Secretary, glows in an almost embarrassment of riches.
Last year the economy grew by 3.7 per cent, whilst inflation fell to 1.7 per cent. Government revenues continue to grow, and a record surplus of HK$138 billion was recorded for the last financial year.
Hong Kong now has HK$1.1 trillion in reserves, and another HK$3.6 trillion in the Exchange Fund. For any city in the world — indeed for most sovereign states — these would be outstanding figures.
As controversy continues to rage over illegal structures and land use, Evan considers the Small House Policy, and the history behind it and the relationship between the villagers of the New Territories and the government. There was always Two Systems in operation. Sadly he sees that it is the urban system of liberal values and rule of law that is under greater challenge today.
編按：非法僭建與佔用土地的爭議繼續升溫之下， Evan 認為這種爭議源於丁屋政策、背後的歷史與新界村民與政府之間的關係——香港一直以來都有兩種制度並行。而丁權正正衝擊自由主義價值觀與法治城市體系，使到今天的香港正處於更大的挑戰之中。
Evan reflects on The Hong Kong Story, a documentary produced just before the 1997 handover. It documents a different city, one not defined by the flag but by its people. It was a city that recognised its diverse ethnic, cultural and national identities, not only among western immigrants but also among its Chinese community. This was the Hong Kong that Evan remembers.
編按： Evan 於本文回顧於 1997 年回歸前拍攝的「香江故事」。該片記錄了一個與現在截然不同的城市，一個不是由旗幟而由其人民定義的城市。這個城市不僅承認其來自西方的移民，也承認了華人社區中的民族多樣性、文化和民族特色。 Evan 認為這才是香港。
編按：這故事是關於 Evan 家中小狗——雖然可能只是軼事，但亦悲哀地反映了香港變遷，是其中一件顯示出這個城市擁有特權的人之間表現出越來越自我中心與不合理態度的事。
This is the story of Evan’s family dog. It is a story that reflects sadly on a way Hong Kong has changed. It may be anecdotal, but it is one of many that demonstrate an increasing ego and unreasonableness among the city’s more privileged people.
I was now at the head of the queue. I was at a government office, waiting patiently in line to be served. On the tannoy a voice called out a number, and I made my way over to the booth.
Behind the glass sat a middle aged man. His face was well groomed, cleanly shaven and his hair combed to a side parting. He wore dark brown plastic glasses, inexpensive but well cared for. Though the office environment was a controlled temperate, outside it was autumn. He wore a dark grey hooded jumper over an off-white shirt. Indeed, there was much about the man that was autumn: in his age and the slight stoop of his body; in what he wore and the way he wore it; and in the way he moved sheets of paper between a copier and his small desk.