MOViE MOViE Magazine #66 - YOU'RE NOT MADE FOR HUMAN EYES
YOU'RE NOT MADE FOR HUMAN EYES
MOVIE-MOVIE-MAGAZINE #66 FOR MOVIE LOVERS
LA CHIM E RA
publisher
chief
creative
editors
Our recent collaboration with Caritas Family Crisis Support Centre and Edited for the “bad day movie festival” has been a success, and we couldn’t have done it without your support. We’re proud to have been part of this and hope you are too. Although bad days won’t end along with the film festival, we hope you have spent a less bad day with us while enjoying our selection of films.
For this October & November, prepare to be captivated by a cinematic journey with our diverse lineup of films, from Cannes-winning titles like La Chimera, Four Daughters, Decision to Leave, and Broker to the critically acclaimed The Old Oak, animation classics Memories, and the Bhutan film The Monk and the Gun, there’s a rich tapestry of films waiting for you to explore!
Hong Kong’s historic first radiation disaster blockbuster!
CESIUM FALLOUT
《焚城》
導演 director
潘耀明 anthony pun
演員 cast
劉德華 andy lau
白宇 bai yu
莫文蔚 karen mok
謝君豪 tse kwan ho
王菀之 ivana wong
王丹妮 louise wong
廖子妤 fish liew
何啟華 ho kai wa
魏浚笙 jeffrey ngai
梁仲恆 leung chung hang
After a fire accident triggers a radiation leakage, the entire city suddenly finds its survival hanging by a thread. In order to tackle the impending catastrophe, expert Simon Fan (played by Andy Lau) joins the emergency crisis response team led by Acting Chief Executive Cecilia (played by Karen Mok) to tackle this catastrophic disaster. With the lives of 7 million people on the line, the fire brigade is tasked with stopping the spread at all costs by entering the radiation zone. Facing this unprecedented calamity, will Hong Kong wake up to an overnight annihilation?
From acclaimed writer/director/producer Todd Phillips comes “Joker: Folie À Deux,” the muchanticipated follow-up to 2019’s Academy Awardwinning “Joker,” which earned more than $1 billion at the global box office and remains the highestgrossing R-rated film of all time. The new film stars Joaquin Phoenix once again in his Oscar-winning dual role as Arthur Fleck/Joker, opposite Oscar winner Lady Gaga (“A Star Is Born”).
“Joker: Folie À Deux” finds Arthur Fleck institutionalized at Arkham awaiting trial for his crimes as Joker. While struggling with his dual identity, Arthur not only stumbles upon true love, but also finds the music that's always been inside him.
In 2008, during the last month of summer before high school begins, an impressionable 13-year old Taiwanese American boy learns what his family can’t teach him: how to skate, how to flirt, and how to love your mom.
In his feature directorial debut, Sean Wang has created a new kind of coming-of-age film, one that is as much a tender ode to immigrant mothers as it is to the dizzying, dissonant experience of adolescence.
Out of nowhere, a gaunt man in a dark suit and a red baseball cap appears in the burning heat of the desert between the US and Mexico. Travis. He drinks the last sip from his water bottle, then he moves on, doggedly, into the inhospitable area that the locals call “The Devil’s Playground”. Travis might seem to be mute and amnesiac, but he’s driven by the desire to reconnect with his family.
Wim Wenders’ iconic Cannes winner from 1984, exquisitely photographed by Dutch master Robby Müller, is a powerful statement on self-discovery, loss, redemption and the unbreakable bonds of love.
Outstanding performances by Harry Dean Stanton and Nastassja Kinski, a masterful screenplay by Sam Shepard and Ry Cooder’s haunting soundtrack have contributed to PARIS, TEXAS’ cult film status and its spell, even 40 years later. The new 4K restoration makes it shine more than ever.
In Italian auteur Alice Rohrwacher’s latest feature La Chimera, a pivotal scene takes a turn for the surreal. The tongued lashings between a team of Italian tomb raiders and a group of art dealers take on a different form, or rather, exposed for what it has always been. Casings of noxious saliva, propelled by the blind violence of their pointed insults, distort and morph into empty noises, barks and growls intelligible to anything human. They are simply beasts fighting over one more morsel of food in a cage imperceptible to their eyes. Caught between conflicting interests of the two parties, Arthur (Josh O’Connor), after witnessing this lengthening of the canine, makes a decision to the shock of everyone. He whispers, “You weren’t made for human eyes” before returning the Etruscan object of desire to where it belongs: in the deep recluses of the natural world.
Throughout the film, Arthur is often seen as a conduit between two worlds. He is gifted with the ability to traverse between past, present; spiritual, material; subterranean, terrestrial; each shift in reality depicted with transitions between 16mm and 35mm analogue film. He spends his days venturing on clandestine hunts for Etruscan tombs with the Tombaroli, the Italian tomb raiders of the 1980s whom Rohrwacher believed to be a product of the culture of materialism’s coming to. His affinity towards history and connection with distant realms becomes a valuable tool for his fellow cogs of the rising capitalist machine as they rummage through history and spiritual sanctity for profit. Despite being a valuable member of the tomb-robbing team, Arthur instead searches for the connecting thread to his lost love and never seems to fully assimilate with the group, their culture or their concerns.
Arthur’s gifts of transcendence reach beyond the film; his obsession with the past, his character of duality and untethered displacement draws parallels with Rohrwacher herself. Born to an Italian mother and German father, the filmmaker grew up in the Tuscan countryside. In an interview with The Guardian, she spoke of her experience of alienation that arose from her bicultural background, “So my own identity is complicated. On the one hand I feel very tied to my country, very loving of it; it’s where I’ve lived all my life. But I’m always perceived as a foreigner.” The sentiment of alienation Rohrwacher speaks of is subsumed under her decade-spanning oeuvre consisting of four features – all occupied by conflicting worlds. This defining element underlining Rohrwacher’s work is reminiscent of how Straub and Huillet’s anachronistic juxtaposition of formal elements culminate in a power of Brechtian effect; the versification of the prosaic, the proximity between deities and mortals, the anachronism between fleeting sounds and sights of modern civilization into its established ancient settings. These ruptures in the filmic fabric are disjunctive reminders of the very constructions and processes that form a film, a confrontation of reality rather than an escape from it. Rohrwacher eases into a tempo of incongruity with narrative disjunctions and elements of folkloric magical realism, which, compared with Straub-Huillet’s self-reflexivity, further nurtures a disconnect that operates within a space removed of belonging, Arthur’s apparitional presence in La Chimera writ large.
text by jeremy & translated by pinky ho
CHIMERA
Though Rohrwacher’s body of work is immanently anti-escapist, La Chimera — with its clarity-inducing quality — is sympathetic to our collective gravitation towards escape, and the director’s own desire and means of doing so. A question then arises: are films, in our current landscape, able to transcend the capitalist values that have redefined the medium itself? Though Rohrwacher might view this goal – and Arthur’s decision to return the statue – as an act of futility, her films of remembrance, often imbued with a desire for liberation from the worlds of polarity her characters are often confined to, are revealing and teeming of hope. It is a hope that through a heightened awareness of our confines, and a spirited illumination of the communal and human processes responsible for La Chimera’s conception, Rohrwacher can use film the same way that Arthur uses his wooden stick: as a mechanism for excavation. The Tomboroli dig in search for the past; they desecrate the sacred domain of the Etruscan afterlife for the sake of capital. Arthur digs in search for the past; he looks for his lost love at the expense of what is in front of him. Rohrwacher digs in search for the past; a time before capitalism became an inextricable part of us, before materialism destroyed our awareness of the invisible – she grasps at a world beyond duality that is able to remind us of both what we’ve lost and what we still have. With her magnum opus La Chimera as her tool and Arthur as her vessel, Rohrwarcher hunts for a world suitable for the coveted Etruscan statue, a space beyond the capitalist gaze.
The Old Oak is a special place. Not only is it the last pub standing, it is the only remaining public space where people can meet in a once thriving mining community that has now fallen on hard times after 30 years of decline. TJ Ballantyne (Dave Turner) the landlord hangs on to The Old Oak by his fingertips, and his hold is endangered even more when the pub becomes contested territory after the arrival of Syrian refugees who are placed in the village. An unlikely friendship develops when TJ encounters a young Syrian with a camera, Yara (Ebla Mari). Can they find a way for the two communities to understand each other? So unfolds a deeply moving drama about loss, fear and the difficulty of finding hope.
We had made two films in the Northeast, stories of people trapped in this fractured society. Inevitably both ended badly. Yet we had met so many strong, generous people there, who respond to these dark times with courage and determination. We felt we had to make a third film that reflected that, but also did not minimise the difficulties people face and what has befallen this area in the past decades. There was another, longer story to tell, if we could find it.
A starting point was the reality of the region’s neglect. The old industries had gone – ship building, steel and coal mining – and little had been put in their place. Many of the pit villages, once thriving communities with great traditions of pride in their tradition of solidarity, local sports and cultural activities, were left to rot by the politicians, both Tory and Labour. We found that people expected nothing from the Tories, but Labour’s failure was denounced – ‘done nothing for us’ –yet it was a Labour heartland, with Tony Blair and Peter Mandelson being local MPs. It had made not a jot of difference. The communities were simply abandoned.
Many families had left, shops closed, as did schools, libraries, churches, most public spaces. Where there was no work, hope drained away, and alienation, frustration and despair took its place. Alarmingly, the far right made an appearance.
Councils in other, more prosperous areas sent vulnerable, needy people, seen as ‘problems’, who depend on housing benefit to cover their rents, to places where accommodation was cheap. Conflicts were inevitable.
Then there was another twist. The government finally accepted refugees from the horrific war in Syria. Fewer came here than to most European countries, but they had to go somewhere. Again, it was no surprise when the Northeast took more than any other region. Why? Cheap housing and an area that the national media barely notice.
Paul heard the stories of what had happened when Syrian families first arrived, and we began to think this was the story we should tell. But first it had to be understood. Two communities living side by side, both with serious problems, but one with the trauma of escaping a war of unimaginable cruelty, now grieving for those they have lost and worried sick for those left behind. They found themselves strangers in a foreign land. Can these groups live together? There will be conflicting responses. In such dark times, where is hope? It seemed a tough question, and Paul, Rebecca and I thought we should look for an answer. ken loach
THE OLD OAK KEN LOACH
FOUR DAUGHTERS
《出走的女兒》
導演 director
卡茴華班哈尼亞 kaouther ben hania
演員 cast
olfa hamrouni
eya chikhaoui
tayssir chikhaoui
nour karoui
ichrak matar
EXCLUSIVE PREMIERE 獨家首播
27/10 (SUN) 22:00
28/10 (MON) 23:50
Set against the backdrop of Tunisia’s political changes in the 2010s, Olfa Hamrouni and her two younger daughters experience traumatic challenges as the two elder daughters have left home to join the Islamic State in Libya. Through intimate conversations and performances, the film reconstructs pivotal moments in the family’s life, revealing the complexities of rebellion, memory, and sisterhood.
Kingdom of Bhutan, 2006. Modernization has finally arrived. Bhutan becomes the last country in the world to connect to the internet and television, and now the biggest change of all: democracy. To teach the people how to vote, the authorities organize a mock election, but the locals seem unconvinced. Traveling to rural Bhutan where religion is more popular than politics, the election supervisor discovers that a monk is planning a mysterious ceremony for the election day.
Wim Wenders is called by many the master of road movies, but he is not a travelogue filmmaker. While travelogues often exoticize foreign landscape and people, Wenders’ road movies are about the act of being on the road itself and the romanticism of being on the move. Though he has his fetishes (especially for American and Japanese cultures), he hardly exploits them like a tourist.
Despite being firmly planted in Berlin for most of his life, Wenders’ films have taken him all over the world, including middle America, Portugal, the Australian outback, Cuba and the African nation of Djibouti. Looking at his globe-hopping filmography, one can gather that he may be one of the most restless filmmakers around today. In addition to catching the new remaster of his road movie masterpiece Paris, Texas in cinemas, be sure to tune into MOViE MOViE this month to see a selection of the legendary German filmmaker’s greatest works.
Though set in a single city, Wenders’ latest film Perfect Days is very much focused on a man who is just as restless as him. Marking Wenders’ return to Japan, where he made the Yasujiro Ozu documentary Tokyo-Ga, Perfect Days tells the fictional story of an ordinary Tokyoite who spends every day hopping across the city as a public toilet cleaner and going about simple everyday routines, though these routines are sometimes disrupted by different people in his life. Simple but profoundly universal in its message, Perfect Days is a touching parable about living in the present and appreciating a simpler life.
Perfect Days is far from Wim Wenders’s first love letter to a city. His masterpiece Wings of Desire is not just an enchanting film about love and the human experience; it’s an urban symphony about pre-unification Berlin. Inspired by art depicting angels all around West Berlin – which was enveloped by the Berlin Wall at the time — the film follows two invisible angels who wander the city
and listen to the thoughts of mortals. A sensational film that shows the infinite possibilities of cinema as an art form, Wings of Desire is a rare film that really does live up to its lofty promise of showing what it means to be human.
To see Wenders take the road movie formula to the extreme, don’t miss Until the End of the World Easily Wenders’ most ambitious film, the “futuristic” drama follows a French woman who literally goes across the globe (the film was shot in 11 countries over 22 weeks) in pursuit of a perfect stranger who is being hunted for holding a top-secret device. Featuring all of Wenders’ signature stylistic trademarks — an eclectic soundtrack, profound ideas about the nature of cinema and of course, a road movie narrative — Until the End of the Road is an example of a grandiose artistic indulgence that some artists spend their entire lifetimes trying to realize. After the film was released in an investorsmandated 179-minute truncated version that was a commercial disaster, Wenders secretly preserved his footage and later edited a 287-minute director’s cut that finally represents his vision. The result truly lives up to what Wenders promised to be “the ultimate road movie.”
Though not exactly a road movie, The Million Dollar Hotel comes from Wenders’ other two passions: music and Americana. Even more so than Perfect Days and Until the End of the World, Wenders’ off-beat neo-noir is driven by music, or rather, one particular musician: U2’s Bono. Not only did the iconic musician produce the film’s atmospheric soundtrack, he came up with the film’s concept: a film that explores the lives of oddball residents in a seedy Los Angeles hotel. Misunderstood and unfairly maligned at the time of release, the entrancing film has now been remastered, just in time for a new generation of Wenders fans to discover it.
Kevin Ma is a writer and English subtitler in the film industry, and the Hong Kong Consultant for Italy's Udine Far East Film Festival. He was an English Editor at YesAsia.com and the Entertainment Editor of Cathay Pacific's inflight magazine. He has contributed to publications by the Asian Film Awards. South Korea's Bucheon
Fantastic Film Festival, Poland’ s Five Flavours Film Festival, Hong Kong
Film Festival, Hong Kong Asian Film Festival and the Hong Kong Film Archive.
Appraisals for Park Chan Wook’s 2022 romancethriller Decision To Leave are often accompanied with comparisons to Hitchcock’s Vertigo Narratively, it is hard to dismiss their similarities. In Decision To Leave, the fear of heights experienced by Vertigo’s Scottie is substituted with insomnia for Korean detective Jang Hae-Jun’s (Park HaeIl). Like Scottie with the streets of San Francisco, Hae-Jun wanders through Busan in its twilight hours, filling his time with busy work. Also like Vertigo, Decision To Leave starts with a detective’s obsession - Hae-Jun falls in love with Song Seo-Rae, the prime suspect in her husband’s murder. However, that is where the two films begin to diverge: where Vertigo is an exploration of the obsessive gaze on multiple levels with its dizzying turns and twists and bombastic visual style, Park’s signature sleek and kinetic filmmaking style adopts a lens of yearning. The film evokes a longing romance more reminiscent of the kind seen in films like David Lean’s Brief Encounter (a great influence on Park). With innovation and an embrace of the modern, Park undeniably creates something unique of his own.
CHANNEL PREMIERE 頻道首播
03/11 (SUN) 22:00
04/11 (MON) 23:35
Park is at his most formally and visually inventive in Decision to Leave. The film follows Hae-Jun’s unfolding investigation of the mercurial Seo-Rae, a beautiful Chinese femme fatale played by Tang Wei in a defining performance. Compared to the bloodthirsty violence that many people know Park for, this romance, co-written with Jeong SeoKyeong, is much more subdued, though only in the amount of blood. Here, the blood has already been shed; red has dulled and dried on the protruding rocks that scale the mountain where Seo-Rae’s husband fell from its precipice. When doubt is cast on Seo-Rae’s innocence, Hae-jun follows her from day to night, whispering into his phone and noting down the intimate details of her daily routine.
Unlike Scottie’s gaze of obsession in Vertigo, Park casts Hae-Jun with a gentle compassion; the detective’s fondness towards the Chinese widow is reciprocated, though Seo-Rae’s affection is steeped in an air of mystery and “foreign-ness”.
As Hae-Jun slowly learns more about Seo-Rae and the case at hand, their relationship evolves into something more complicated and harder to discern: detective and suspect, voyeur and observed, hunter and prey. Hae-Jun and SeoRae become hopelessly entangled in the infinite expanse of ever-changing and overlapping dynamics of power – they fall for each other.
In typical Park Chan-Wook fashion, Decision To Leave is brim with lush cinematography and editing. In one scene, Hae-Jun sits in a car across the street from an apartment that Seo-Rae is visiting for work, watching her through binoculars. The film cuts to a close-up of Seo-Rae in her
apartment. She is speaking to someone, but we can’t hear what she is saying. Back on Hae-Jun’s face, we see him lower his binoculars. He’s in the apartment now, subjecting his gaze at the unknowing Seo-Rae as she goes about her tasks. However, this voyeuristic dynamic is completely transformed when he calls her. Now, Park frames Hae-Jun and Seo-Rae with a relaxed medium shot. The two share the same space, and their conversation on the phone plays out within the visual confines of her apartment. What could’ve easily been a split-screen scene is now a scene of shared space and intimacy. As phone calls and text messages annihilate the space between the two, the penetrative voyeuristic gaze of the detective chasing his prey is warped into a gaze more tender. Park manages what was once thought impossible: exhuming romance and tension from the barren wastelands of technology.
Mirrors, glass and screens are ever-present, constantly reflecting, refracting and rebroadcasting the enigma that is Seo-Rae, obfuscating the truth behind the mystery, and consequently blurring the lines and threads that connect the two. Even in the act of translation, a process of clarity, and in this case, an act once again facilitated by technology, obfuscation lies at its heart. Whenever Seo-Rae’s conversational Korean does not suffice, she reverts back to her native (un-subtitled) Chinese, which is then translated via her phone. It is a one-two punch of set-up and pay-off – the first strike is the subdued emotion as she directs her words towards her phone’s translation function so as to make her words intelligible; the finishing blow is the delayed meaning behind the emotion, translated clearly for Hae-Jun in subtitled Korean. It is in those few seconds of digital processing and computing that the foreign completely engulfs Hae-Jun and the audience. Here, Decision To Leave finds tension in both its romance and mystery simultaneously. Like the classic romances of passing glances and fleeting moments, Decision To Leave builds tension through small moments, now adapted to and found in digital uncertainty. We assume the role of technology, gazing back at him from inside the phone, questioning the love that has clouded his gaze and warped his judgement.
Park understands that the great romances from Hollywood’s Golden Age cannot be cheaply imitated in the 21st century. The romance immanent to the analogue era is simply incompatible with smartphones. Phones are no long simply tools of communication; they are conduits into an amorphous shared space of intimacy. However, the introduction of technology is just an adornment, not a reinvention. The heavy haze of the beach at the end of the film still obscures, just like the distorting and refracting surfaces seen throughout the movie. People still lie. People still kill. Love is still blinding. Love is still destructive. The only difference now is the location of the bedroom, wedding venue and graveyard. Park Chan-Wook didn’t redefine the romance film; he masterfully adapted it to the digital era.
Sanghyeon is always struggling from debt, and Dongsu works at a baby box facility. On a rainy night, they steal the baby Woosung, who was left in the baby box, to sell him at a good price. Meanwhile, detectives were watching, and they quietly track them down to capture the crucial evidence. Winner of the Ecumenical jury award for Best Film at the 2022 Cannes Film Festival and Song Kang-ho’s role won him the top honor of Best Actor in Cannes.
Twenty-year-old Elya is a student and a future ecologist. One day, Matvey, the head of a construction company, comes to her university to talk about a development plan on the site of an old forest park. Elya does not hesitate to smash his project to smithereens. Matvey is intrigued by the girl's self-confidence and uses his usual methods - he simply tries to "buy" her. But Elya doesn't need a sponsor.
From the creative supervision of Katsuhiro OTOMO, comes Memories, a three-part work based on OTOMO's three original stories. Magnetic Rose sets in outer space at the end of the 21st century, the 1st part tells the story of two engineers who encounter the apparition of a female opera singer in an abandoned space freighter...
The 2nd story Stink Bomb is a satirical tale of a young lab technician who accidentally swallows experimental pills...
The 3rd part Cannon Fodder depicts war-time life in an imaginary world, using a characteristic camerawork.
Art is more than more than just literature, cinema, painting, and theatre. We often forget that fashion is also art. In this selection of 5 films curated by MOViE MOViE, each centred around influential fashion designers, this sentiment is never lost, as we witness the exploration of human expression in the confines of the runway and streets. Through 5 candid portraits of singular and complex figures of fashion and their personal expressions of imagination in the world of haute-couture, we are reminded of the power of fashion as art; a form of human expression.
The First Monday in May 《改潮換代西太后》Westwood: Punk, Icon, Activist
A look into the absurdity and beauty of the fashion world, “The First Monday In May” follows iconoclast curator Andrew Bolton and fashion icon Anna Wintour as they prepare for two of the largest cultural events of the year: “China Through the Looking Glass”, the most attended fashion exhibit in history, and the Met Gala, the annual starstudded haute-couture fundraiser celebrating the exhibit’s inauguration.
09/11 (Sat) 24:00
02/11 (Sat) 23:40
有「時裝界奧斯卡」之稱的 Met Gala 一直享負盛 名，2016 年以中國「鏡花水月」為主題，本片直擊 這場史無前例盛事的過程，一同欣賞紅地毯上蛾 兒雪柳黃金縷，極為華麗的視覺盛宴。
An intimate portrait of pioneering British fashion designer Dame Vivienne Westwood and her life – her humble beginnings, her rise to prominence as the “Godmother of Punk” , her trailblazing work as iconoclastic activist. Told in a blend of archival footage and intimate interviews, this documentary is a tribute to Westwood’s inspirational story and indelible legacy.
“It’s more than cinema, more than dance, more than theatre.” Fashion designer Jean Paul Gaultier fulfils a lifelong dream of staging a music hall revue in this enlightening documentary. Following the creation of Gaultier’s Fashion Freak Show in all of the couturier’s unapologetic outrageousness – we are offered a glimpse into Gaultier’s world, where people of every kind are celebrated.
16/11 (Sat) 23:45
時尚頑童 Jean Paul Gaultier 誠邀大家探索盛會 的台前幕後，在「 怪人 」的世界中尋找美感。他分 享由兒時變性小熊公仔開始，講到與愛人跨越生 死的戀情。在這光怪陸離的氛圍中，唯有擁抱多 樣性和忠於自我才能真正改變世界！
23/11 (Sat) 23:50
John Galliano’s name carries a lot of weight. Not just for his long-time contributions to fashion, but also the infamous incident that resulted in his banishment from the industry. Documentary “High and Low” traces his tumultuous career and undeniable creativity across the years, examining questions surrounding modern cancel culture. Now the creative director of Maison Margiela, is Galliano’s life a comeback story or a tale of fallen grace?
Alexander McQueen’s legacy as an artist is undeniably singular and influential. His fashion shows and designs pushed boundaries, possessing a beauty simultaneously primal and visionary. “McQueen” presents his mesmerizing genius in dialogue with his character, painting a meticulous and realised portrait of the person behind the extraordinary vision.
MOViE MOViE 聯同提供危機支 援服務的「 明愛向晴軒 」，以及創 意團隊 EDITED 舉行的 bad day movie festival 經已圓滿結束 ！ 今年 MOViE MOViE 首度與明愛 向晴軒合作 ，為觀眾帶來多部探 討 bad day 的電影 ，在光與影的 交織中 ，分享並感受彼此的情感。 同時亦有賴嘉賓以及影迷的支 持 ，每人都會經歷 bad day，但願 大家都能夠從電影中找尋一點安 慰 ，隨時與你共同度過那些無所 適從的 bad day。
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MOViE MOViE 為香港觀眾度身訂造， 致力提供最多元化的優秀電影， 搜羅全 球叫好叫座的的首輪人氣猛片、 更精挑細選橫掃國際影展的得獎傑作， 以至 口碑載譽的不朽經典，24 小時無間斷送上世界各地的高質好戲！
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HBO 為安坐家中的觀眾帶來荷里活猛片以及 HBO 得獎原創劇集。 每日 24 小 時不停熱播， 絕無廣告， 最適合電影愛好者。HBO 亞洲區觀眾亦可獨家欣賞 在電視上首播的精彩荷里活猛片及 HBO 得獎原創劇集和節目的頻道，如《權 力遊戲》 等。 不能錯過的更有 HBO GO 服務， 提供超過 1,500 小時 HBO 原創 劇集與電影， 逾 500 部荷里活鉅製供自選點播， 其中 same time as U.S. 系列 更緊貼美國播映時間！
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