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Hong Kong Film Critics Society

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Hong Kong Film Critics SocietyChina誠徵節目及宣傳統籌（全職工作）誠徵節目及宣傳統籌（全職工作） editor Fri, 2026-11-06 17:46

Hong Kong Film Critics SocietyChina《快要到達家了》：「大離散時代」如何談「家」？《快要到達家了》：「大離散時代」如何談「家」？令菱 Sun, 2026-11-01 18:40 電影新人類由許鞍華及文念中聯合監製、姜雯潔執導的紀錄片《快要到達家了》，10月在M+戲院有三場特別放映，並將於12月18日正式上映。

Hong Kong Film Critics SocietyChina《我阿爹想旅行》：鬼馬與溫情皆是孟婆湯《我阿爹想旅行》：鬼馬與溫情皆是孟婆湯戚苗苗 Sat, 2026-10-24 11:49 電影新人類關於臨終心願與人生遺願的題材，在類型電影創作中不算熱門，卻每隔一段時間都能在大片雲集中脫穎而出，憑真摯細膩的情感療癒觀眾，贏得口碑。

Hong Kong Film Critics SocietyChina藝術戲院的意義──異鄉、暗室、一扇門藝術戲院的意義──異鄉、暗室、一扇門何阿嵐 Thu, 2026-10-15 16:49 文章薈萃 1. 百老匯電影中心電影中心成立之初，曾在彌敦道中華書局上邊懸掛過一塊綠色長身的指示橫牌。上面鮮明地寫着「百老匯電影中心」，附帶一個指向西面的箭嘴，就掛在大廈外牆，朝向車水馬龍的彌敦道。我對那塊綠色橫牌至今記憶猶深。小時候跟隨家人前去，循着指示沿眾坊街一路往西走，愈走愈生疑。

Hong Kong Film Critics SocietyChina《我阿爹想旅行》──後九七父母世代的公路心事《我阿爹想旅行》──後九七父母世代的公路心事陳嘉銘 Thu, 2026-10-15 15:42 會員評論「女呀你二十八歲，我擔心你嫁唔出將來冇人照顧呀。」他在駕駛盤前跟女兒說，可被女兒調侃回應，而車繼續駛向他的目的地。他是電影《我阿爹想旅行》裏，張家輝所飾的末期肺病父親，卻藉故陪飾演女兒的鍾雪瑩取電影道具，而溜出了醫院，更駕車到澳門，再而買機票出發到日本，目的是要為女兒同時也為自己圓結心願。

Hong Kong Film Critics SocietyChina《快要到達家了》：當原本的家不復存在《快要到達家了》：當原本的家不復存在陳志華 Wed, 2026-10-14 22:29 會員評論《快要到達家了》在香港國際電影節首映後，將於M+戲院再度放映，相信稍後還會正式上映。片中拍攝了三位香港作家──韓麗珠、李維怡、葉曉文，但這並不是一部講述作家生平及文學成就的紀錄片，不只是在拍攝《他們在島嶼寫作》那樣的文學紀錄片，導演姜雯潔關心的，除了是這三位在香港從事寫作的女性，還有這個令她們持續創…

Hong Kong Film Critics SocietyChina《Unidentified》：沙烏地三部曲終章，一場亙長的反叛《Unidentified》：沙烏地三部曲終章，一場亙長的反叛蕭又筑 Thu, 2026-10-01 17:04 電影新人類海法阿爾曼蘇爾（Haifaa al-Mansour）是沙烏地阿拉伯第一位女性導演。

Hong Kong Film Critics SocietyChina燈照離席：陳觀泰燈照離席：陳觀泰蒲鋒 Mon, 2026-09-28 17:50 會員評論燈照離席早在新浪潮出現之前的1970年代初，香港電影已經歷了連番影響深遠的變化，包括粵語片的消亡與再生，嘉禾的興起，獨立製片的活躍等。還有一個大轉變是一些舊類型的消退與及功夫片、黑幫片和警匪片等新類型的出現。這個年代已不再是明星一紅便甚麼類型都能演能賣座的時期。每個類型都有屬於它的明星。

Hong Kong Film Critics SocietyChina《HKinema》第七十期《HKinema》第七十期 editor Mon, 2026-09-28 12:08 HKinema 香港電影評論學會季刊《 HKinema 》第七十期同步出版第七十期專題：暴烈與流動：動作電影的跨文化交鋒今年，當谷垣健治執導的《火遮眼》上映並引發熱烈討論時，鏡頭前呈現的是多元面孔與異國場景，而在鏡頭背後，推動整場演出與技術核心的依然是一群香港電影人。

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About

The small bracket on top of every camera, from a phone rig to an ARRI.

The hot shoe is where the flash goes, and the microphone, and the monitor, and whatever the next decade bolts on. Every camera has one and nobody photographs it. This magazine is named after it because that is where the whole business meets: the body, the glass, the light, the sound, and the person holding it.

I shot news in Gothenburg for nine years and documentary for hire after that, then stopped taking assignments to write about the tools. Since 2021 I live in Tokyo, ten minutes from the used-camera shops of Shinjuku, which is not an accident: Canon, Nikon, Sony, Fujifilm, Panasonic, Ricoh and Sigma make almost everything worth pointing at a subject, and their own press writes about it first, in Japanese. So this magazine reads it there, and in German, French, Italian and Spanish, and in English from the reviewers who actually put a card in the slot — around eighty sources and thirty channels, counted and plotted so you can see what is moving.

Bodies and lenses, cinema cameras and drones, film and the darkroom, firmware and the software that finishes the picture, the rumours before the launch and the reviews after it, and the photographers and shows the rest of it is for. I test what I write about on a job before a word goes down. I shoot film on Sundays and do not think that makes me interesting.

A story here is a headline, a short excerpt, one picture and the link to whoever reported it. We never reprint the article, and the picture belongs to the photographer or the maker. A story written in Japanese appears in Japanese, as its author set it down; the link goes to the original.

— Mara Lindqvist, Tokyo