The films I love are the one that are artistic and cultural. My favorite directors are Michelangelo Antonioni, Andrei Tarkovsky, Yasujiro Ozu and Fei Mu. But there is no room for such sort of cinema in Hong Kong, which missed the chance to build a cultural foundation even during its golden age. As a director, I have been working on the fringes of mainstream cinema, hence I have yet to make a film that satisfy myself. On the creative side, there are still a lot for me to learn. Will I ever have the opportunity to shoot a film that I’ve longed to make? That would depend on fate and destiny. As a filmmaker, I can only patiently dedicate myself to the medium without putting too much emphasis on the results.
Born in 1954 in Hong Kong, Eddie Fong fell in love with cinema after high school and became a regular at Phoenix Cine Club, Studio One and Sunday matinées. His fervor for film led him to become an assistant at the Shaw Brothers Studio’s editing room. Before he studied film at Hong Kong Baptist College (now renamed Hong Kong Baptist University), he took a shot at filmmaking with Super-8 and his short film won Best Picture at the Hong Kong Independent Short Film Festival. During college, he had tried writing and directing plays. On the recommendation of a teacher, he became a screenwriter at Commercial Television and Rediffusion TV while still a student.
After graduation, he was involved with writing scripts for films as well as for Television Broadcasts (TVB). He then spent a year studying in the United Kingdom. Upon his return, he formed his own production company with scriptwriters Chiu Kang-chien and Chun Tin-nam. He made his directorial debut with the erotic drama An Amourous Woman of the Tang Dynasty, which was nominated for Best Art Direction at the Hong Kong Film Awards and won in the same category at Taiwan’s Golden Horse Film Festival.
Fong then directed two biopics—1985’s Torino Film Festival entry Cherry Blossoms, starring Chow Yun-fat, and 1990’s Venice Film Festival selection Kawashima Yoshiko, featuring Andy Lau and Anita Mui. His 1994 film The Private Eye Blues was named by the Hong Kong Film Critics Society as one of the “Films of Merit”. Meanwhile, Fong began his longtime collaboration with his wife, filmmaker Clara Law. He had written, developed and produced six films for her, including The Other Half and the Other Half (1988), The Reincarnation of Golden Lotus (1989), Farewell, China (1990), Fruit Punch (1991), Autumn Moon (1992) and Temptation of a Monk (1993). Fong found it increasingly difficult for him to cater to the Hong Kong market’s taste for commercial cinema. He and Law immigrated to Australia to devote their careers to nonmainstream cinema after discovering the Australian government’s generous support for film culture. He produced and wrote three English features directed by Law, Floating Life (1996), The Goddess of 1967 (2000) and Letters to Ali (2004). In 2008, he made a return to Hong Kong for the Law-directed Chinese feature Like a Dream, which he wrote and produced.
|Year||Chinese name||English name||Directors|
||The Private Eye Blues|
||An Amourous Woman of the Tang Dynasty|