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im sorry… for not being able to share this song with you earlier because i ♥️ it that much. Anyways, here’s a new one I’ve been working on with 許靖韻 Angela 小背心] and @sotoc , and this is an absolute tearjerker and the inspiration for this song comes from a real story 💔😢 thanks for having me again 許靖韻 Angela 小背心] 😇
《#花束般的戀愛》
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1.好看，看完心情很不錯，感覺清爽。
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2.在這時機點看這部電影，如同看到《大豆田永久子與三個前夫》和《喜劇開場》混合版，不只是演員或場景，而是各種意義的，像耳機線纏成一圈。
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3.我覺得有點劍走偏鋒的《大豆田》，在日本收視極差，這部從宣傳開始已經主打純愛系的電影，在日本票房極佳──可以得知坂元裕二非常非常非常懂soap opera的公式。不虧是寫趨勢劇起步的資深腳本家，與另一位好手土井裕泰導演，將這些元素玩成一束花。
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4.有個直覺，這部電影把《大豆田》刻意不講明的事情都講清楚，也許，沒有這部電影就沒有《大豆田》了吧。
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5.但若要深究這部電影，其實要從日本電影21世紀第一個十年曾流行過的商業類型「tearjerker」催淚片開始談。要從土井裕泰的《現在，很想見你》、《淚光閃閃》開始談；要從坂元裕二參與過行定勳的《在世界中心呼喊愛》劇本（甚至可以延伸到行定勳去年的《劇場》在命題上的關聯）開始談，寫起來應該滿有趣的（但應該不是很多人有興趣…吧？）
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6.承上題，所以這部電影對我來說，其實不是哭哭片（很妙吧），我甚至覺得，這部電影不只在講純愛（雖然坂元本人很強調是純愛），是一個更大的題目。
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7.曾有大學交往到開始就職期間的戀情經驗的人，應該會很有感觸，因為它拍出了很多細節，包括肉體上的（此言不虛）。
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8.總覺得坂元作品裡有個不成文規定，第二次合作的演員，大多都要演第一次合作時個性完全不同的角色，不過我覺得有村架純是延續第一次，第二次合作的菅田將暉才是完全不一樣。
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9.看完這部電影會很想去東京走路真討厭。
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預告：https://www.youtube.com/watch?v=6rbrUI37fBw
我提自己要睇
《5月35日》(庚子版) 粵語演出，附中英文字幕
網上演出 全球直播
我們就來個光明正大的紀念，衝擊這條不正常的底線。
編劇 莊梅岩 X 導演 陳曙曦
去年一票難求 今年全新班底 創作屬於香港人的「庚子版」
2019年版本好評如潮：
▪ 「上至劇本、導演、演員、下至燈光、佈景、音響、服裝也配合得天衣無縫，而這種感動至今仍然使我回憶起時不禁眼泛淚光。這是一齣香港人應該要看的舞台劇。」 著名演員 葉德嫻
▪ 「我不只是看一個演出，更是在見證歴史。真相要說下去，好好的說下去。」著名演員 蘇玉華
▪ 「這個演出我已經看過兩次了，每次看，都深深觸動，更拷問我的良知，面對不公義，要如何回應，才不至苟活一生。」傳媒人 吳志森
▪ 「活像套預言劇，編劇莊梅岩句句人話，下下到肉！」《明報周刊》 陳詠恩
▪ 「優異的本港創作劇，簡練感人，有笑有淚而不落俗套，亦有激情火花……劇中處理老夫老妻和絕症，特別是喪兒之母的哀痛，真實感人，遠勝一般煽情俗品。」劇評人 石琪
▪ 「以實在的劇情觸及高層次的理念，道德人性，政治到哲學思考，正是莊梅岩的功力所在。」劇評人 江祈穎
一年伊始，雙雙步入八十歲的小林和阿大就迎來滿身病痛。兩個老人等待死亡，是再自然不過的事。
只是，兩夫婦唯一的兒子哲哲三十年前死於不自然，許多事情到今日還沒有問出個明白來。
小林期待從苦苦問責的歲月中解脫，相反一直膽小的阿大越想越不忿，以前顧著二人的晚年才不去抗爭，現在連老伴也快將離去，他還有什麼要害怕的？
如是，他倆定下偉大的目標：在5月35日當天，要堂堂正正去拜祭兒子。
在不正常國家的陽光底下做正常的事也是不合法的。
「我們就去衝擊，這條不正常的底線。」阿大說。
「老伴，我終於覺得你愛我了。」小林說。
相約在5月35日，來個光明正大的紀念。
編劇：莊梅岩
導演：陳曙曦
演員：區嘉雯、喬寶忠、黎濟銘、郭小杰
現場演奏：Celloman
佈景及服裝設計：賴妙芝
燈光設計：馮國基
音響設計：陳偉發
聯合監製：列明慧、張家弘、黃懿雯
製作經理及舞台監督：劉漢華
"May 35th" Gengzi Edition
Global Live Online Performance
In Cantonese, with Chinese & English surtitles
- Synopsis:
Another year has just passed. Octogenarians Siu Lum and Ah Dai are afflicted with the usual ailments of old age. They await death—a natural occurrence that is a part of life.
But 30 years ago, their son Chit met an unnatural death. Even today, many unanswered questions still surround the incident.
Siu Lum looks forward to being released from those bitter years lost searching for accountability. On the other hand, Ah Dai, who had been cowardly for years, grows all the more impetuous. Decades ago, he avoided such conflicts, concerned only about preparing for their future. With his spouse now staring death in the face, what is left to fear?
The two set an ambitious goal: On May 35th, they’ll hold a proper gravesite ritual for their son.
A normal activity that takes place in broad daylight in an abnormal country is still against the law.
“Let’s challenge this abnormal bottom line,” said Ah Dai.
“Spouse, finally, I believe you love me,” Siu Lum replied.
It’s a date: to commemorate May 35th openly, in broad daylight.
Great acclaims from 2019 version:
● "The script, direction, acting, as well as the light, set, sound and costumes are perfectly interwoven. The sentiments still move me to tears from time to time. A must-see performance for Hong Kongers." Renowned actress, Deanie Ip
● "I'm not only an audience, but the witness of history. The truth deserves to be told, precisely and continuously." Renowned actress, Louisa So
● "Just like a prophecy. Playwright Candance Chong wrote every word with conscience and insights." Chan Wing-yan of Ming Pao Weekly
● "This original Hong Kong production is brilliant, concise and touching. The sophisticated mix of humour and sorrow sparks with passion. When it depicts the old couple fighting against the fatal illness, and above all the mourning grief of losing their son, the emotions are so genuine which makes it no ordinary tearjerker." Theatre critic, Shek Ki
● "Down to earth plot projecting high principles such as morality, humanity, politics and philosophy. That's what makes Candance Chong so outstanding." Theatre critic, Kong Yan-wing
Production Team:
Playwright：Candace Chong Mui-ngam
Director：Chan Chu-hei
Actor：Patra Au Ka-man, Kiu Po-chung, Lai Chai-ming, Kwok Siu-kit
Live Musician：Celloman
Set & Costume Designer: Yoki Lai Miu-chi
Lighting Designer：Gabriel Fung kwok-kee
Sound Designer：Chan Wai-fat
Producer：Lit Ming-wai、Cheung Ka-wang、Gladys Wong Yee-mun
Production Manager：Lau Hon-wah
#6431truth #六四 ＃5月35日 ＃六四舞台
"Like any good drama, Solo Date has a heart touch story at the centre of it. What touches me was the idea of love and love lost, love possibly regain and how tat reflects on our identity."
"It was a tearjerker for me!" _Ali Hossaini, Director or Cinema Arts Network, UK
Come to see the show! Venue 17, Assembly George Square
Studio One, Everyday from 1:45pm, 4th-29th August 2016
https://www.assemblyfestival.com/even...
Video by Antonio Nieto
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