Reel to Reel Film Heritage 2022

Online Programme Brochure

Since 2020, ‘Reel to Reel Film Heritage’ has been showcasing newly restored, rediscovered and rarely seen films as a way to revive what has been forgotten in film history, and to explain the evolution of film technology in parallel with discussions of the characteristics of celluloid film and digital media. On the other hand, we aim to raise awareness of the preservation of audio-visual heritage in the hope of strengthening the exchange, education and research in this field.  

This year the programme returns to the structure of three regular sections. In conjunction with our second storybook The Origins of Cinema(going), which looks back on the history of film theatres and viewing experience, ‘A Quick History of Film Technology’ traces the evolution of film gauges and aspect ratios, illustrating how the sensory experience and culture of cinema were developed at various stages; ‘Contemporary Creative Works with Celluloid’ discusses the application and exhibition of celluloid films in the digital age with the theme of found footage; ‘Rediscover and Restructure: Chinese-language Lost Gems and Restored Classics’ continues to look at the context of Chinese-language cinema from Hong Kong’s point of view, and to share the result of efforts from the film archives in Chinese-speaking areas.

Besides film preservation and restoration, film conservation also concerns the film viewing experience and the technology involved. As cinemas open their doors again after a rather long intermission, moments spent in front of the big screen with fellow audience members become even more treasured. Themed around the idea of a ‘multi-verse’, this year’s programme takes us on a journey across the cinematic universe to explore its diverse past and imagine its possible futures, where we will find the work of film conservation indispensable regardless of which world we are in. 

We sincerely thank the film archives and museums, film distribution companies, rights holders, filmmakers, artists, and guest speakers for their continuous support and assistance!

A Quick History of Film Technology: Gauges and Aspect Ratios

Vital to its presentation, the film gauge and image format of a film are elements too immediate for the audience to overlook—yet sometimes they are. To mark the centenary of the invention of the 9.5mm celluloid film and the 70th anniversary of the groundbreaking Cinerama widescreen process, this programme highlights some of the key technological developments in film gauge and aspect ratio and how they are shaping the cinematic experience.

In the early days of cinema, film stock inventions came in a range of materials, gauges and perforlations in response to the filming equipment used. From 1909 onwards, the 35mm format developed by Thomas Edison with W. K. L. Dickson and produced by Kodak, with an aspect ratio of 1.33:1 (or 4:3), was widely used in silent films.

With the advent of sound film in the late 1920s, the image size on film was reduced as an optical soundtrack was added. The Movietone system was a widely known example of adopting such reduction, with a semi-square image aspect ratio of 1.16:1 which soon proved unpopular. Regardless, German director F. W. Murnau exploited this format fully with his acclaimed Sunrise: A Song of Two Humans (1927). Later, thicker, black frame lines were added to reproduce the common aspect ratio; the projector lens magnification had to be increased to accommodate the decrease in image area. In face of such changes, the Academy of Motion Picture Arts and Science established a new standard—the 1.37:1 Academy ratio—in 1932.

While film studios began to produce widescreen films at this time, like Roland West’s cinematographic breakthrough The Bat Whispers (1930) made in the Magnifilm process, they soon refrained from doing so, learning that theatre operators were reluctant to invest in equipment required to project widescreen films. It was not until the 1950s, with the rise of television, that this process became apparently the trump card to get audiences back to the cinema. Films in aspect ratios 1.66, 1.75 and 1.85:1 were released since. However, many of them were merely creating the false impression of a panorama by simply cropping the top and bottom of the images and projecting them with increased magnification.

Meanwhile, innovative processes like Polyvision and Cinerama were introduced to create visual spectacles by simultaneously projecting three reels of film with partially overlapping images seamlessly merged onto a wide screen. In its 1962 release, The Wonderful World of the Brothers Grimm was presented in Cinerama with an ultra-widescreen 2.65:1 aspect ratio. Currently there are only three film theatres around the world equipped to screen films made in the three-strip Cinerama process. During the restoration of Cinerama films from 2002, an alternate ‘SmileBox’ version was rendered by curving the three-panel image towards its centre to simulate Cinerama’s wraparound effect on a flat screen.

Introduced in 1953, with its new optical equipment and anamorphic lenses, the more flexible CinemaScope became the most successful widescreen process in Hollywood that later spread to Japan and Hong Kong, with Shaw Brothers’ Shawscope process making a wide stride in local filmmaking. Both Kon Ichikawa’s Conflagration (1958) and Doe Ching’s Love Without End (1961) demonstrate the Asian filmmakers’ ingenuity in their application of and innovation with film technology.

The race for the best widescreen process did not stop there. Film studios continued to compete with new widescreen formats and produce films with wide film gauges like 65mm for enhanced definition. While the medium of filmmaking is switching from analogue to digital, aspect ratio remains an essential consideration in presenting the filmmaker’s vision.

Due to technical limitations and commercial developments in filming and projection equipment, the evolution of film gauge for domestic or amateur use went an entirely different direction from that of professional film, with the former going from 16mm and 9.5mm to as small as 8mm. Before the spread of digital technology, the lack of compatible projectors has made it a challenge to show to the public images shot in non-standard formats (such as 9.5mm, 17.5mm and 68mm). In 2020, the Eye Filmmuseum in the Netherlands overcame one such challenge by scanning and restoring in 8K a selection of 68mm films from the Mutoscope and Biograph¹ Collections of the museum and the British Film Institute, making it possible for viewers to experience their remarkably high quality. A compilation of these films will be shown in this programme, along with early shorts and animations that illustrate the role small-format film and cameras play in film innovation.

¹ Founded in 1895 and named American Mutoscope Company, with branches around Europe the next year and active until 1916; renamed American Mutoscope and Biograph Company in 1899 and then Biograph Company in 1908.


Contemporary Creative Works with Celluloid: Found Footage

This programme seeks to explore the different ways and implications of celluloid filmmaking. Celluloid and digital filmmaking differ in their modes of production, resulting in drastically distinctive styles and effects. Here we introduce some of the filmmakers who work with found footage and look into the many possibilities of moving images.

Found footage is moving images created with pre-existing footage that one obtains without shooting firsthand, and may be understood as derivative works. Filmmakers with different motivations and creative approaches may understand ‘found footage’ very differently. With analogue or digital tools, one reworks a single or multiple found footage by adding, editing, collaging, accelerating or decelerating the original celluloid materials. The footage might be resized, cropped in photographic processing, its soundtrack and music score reedited, dubbed, replaced or commented. Such reworks are not arbitrarily reordering of existing footage, but consciously illustrating editing aesthetics, narrating stories or discourses. It could also be a critique or parody of the original materials by ways of allusion, deconstruction or decontextualisation. Editing or processing existing celluloid film has been a common creative approach ever since moving image was invented. Some artists and experimental and analogue filmmakers have demonstrated the inexhaustible possibilities of reworking existing film materials since the 1920s. Access to film collections at archives or museums had long been restricted to film preservation workers, artists and filmmakers. Thanks to digital technology advancements in the past 20 years, archival footage have become more accessible. The material turn also renews attention on the nature of audio-visual carriers.

British avant-garde filmmaker and artist Malcolm Le Grice perceives found footage as the ideal bridge between analogue and digital technologies.¹ With moving images, cultural experiences transcend time and space, while responding to social changes brought about by technological developments. Whether creating with celluloid film or editing analogue audio-visual materials digitally, found footage in recent years involves more and more rediscovered family videos, film classics, TV commercials and unrecognised early footage. Presented in this programme include works by Peter Tscherkassky, who prefers the analogue process in the darkroom, exhibiting the irreplaceable nature of celluloid film while presenting an alternate spatial realm of moving image. Bill Morrison adopts digital tools and reshapes the audience’s perceptions towards the materiality of celluloid film by slowing the frames, narrating the passage of time and film history with film decomposition. Robin Hunzinger rekindles memories of intimate experience that belonged to his late grandmother with a variety of existing footage. Peet Gelderblom explores the battle of the sexes while unearthing a cascade of incomplete footage of different genres, years and purposes. Resources for found footage filmmaking in Hong Kong are relatively scarce. Linda Lai Chiu-han experiments montage with Cantonese cinema footage and contemplates on the interrelation between drama and reality.

¹ Malcolm Le Grice, Experimental Cinema in the Digital Age (London: British Film Institute, 2001), 312.


Rediscover and Restructure: Chinese-language Lost Gems and Restored Classics

Curated and written by Lau Yam

This year’s ‘Rediscover and Restructure: Chinese-language Lost Gems and Restored Classics’ programme continues to expand on the foundation set by the 2020 programme by establishing a Hong Kong perspective as we take a broad view of Chinese-language film history. This section has three parts— ‘Thrice the Goddess’, ‘History Hour’, and ‘Prelude to New Cinema’ that will showcase Chinese-language gems and restored films from various film archives for local audiences, researchers, young filmmakers and students.

Hong Kong cinema’s decades of achievement are the results of hard work by several generations of filmmakers. However, Hong Kong filmmakers’ contributions are not limited to Hong Kong. In the 1920s, the Lai Man-wai clan and Sit Kok-sin chased their celluloid dreams in Shanghai. Then in the mid and late 30s, the likes of Lo Duen, Nancy Chan, and Lee Yi-nin had their go in Shanghai. Meanwhile, due to the War of Resistance against Japanese Aggression and the development of Cantonese sound film, quite a few Shanghainese came to Hong Kong and became trailblazers for Cantonese film despite their lack of command of the language. Besides, by taking advantage of Hong Kong’s stability over risks in Shanghai, some filmmakers made Mandarin films in Hong Kong to supply the Mainland market. For example, Rouge Tears (1938) and The Angel (1939) of the first part ‘Thrice the Goddess’ are results of these two opposing currents. After the war, a lot of professionals in film and drama relocated to Hong Kong. The masterful Zhu Shilin directed The Third Generation (1948) that carried the legacy of Shanghai while starting a new chapter at the same time. Shanghai’s film culture intersects with the open and flexible local environment, leading to the establishment of Hong Kong’s Mandarin films, which then integrated with Cantonese films to form the influential Hong Kong cinema.

Since Southeast Asia was a key market for Hong Kong film industry in the 1950s and 1960s, Mandarin and Cantonese films were often shot there with cast and crew from Hong Kong, yet the stories were unable to reflect the situation of different ethnic groups there. Hence, Singapore-Malyasian filmmaker Yi Sui advocated for the ‘Malayanisation of Chinese-language Cinema’—stories told by locals in various Chinese languages that were seen as part of the efforts on building Malayan cultural awareness. The Lion City (1960) is the only film by Yi that still exists today, regarded as a precious record of his artistic achievement and cultural vision. Shot in the 1930s, Taiwanese photography maestro Deng Nan-guang’s 8mm films are rare records of family activities and street shots from a civilian’s perspective. We could worry for them because we understand the historical background of the era, yet the protagonist is closely filming his family life and local practices. Then there’s also Pai Ching-jui’s documentary essay A Morning in Taipei (1964), featuring an abundance of documentary footage that takes us to a tour of the many spaces in Taipei. It illustrates a confident crowd and a bustling city with images of families and communities that are part of human history. Together, these three films form the second part ‘History Hour’.

We featured the works of Mou Tun-fei and Chiu Kang-chien in our 2020 programme as a way to reconnect with the twenty years before New Taiwanese Cinema when young filmmakers surpassed the practice of the mainstream film industry. This year’s ‘Prelude to New Cinema’ continues to piece together the fragments of film history. In the late 70s, Taiwanese cinema was looking for breakthroughs, resulting in innovative genres, or an injection of fresh ideas into traditional genres. Long-time celebrated director Lee Hsing made Good Morning, Taipei (1979), which at its core is still adhering to morality. But it dares to challenge the established norms and continues its exploration of moral topics with refreshing ways while exuding the light sensibility of the times. Hou Hsiao-hsien’s first two directorial features, Lovable You (1981) and Cheerful Wind (1982), had successfully combined the new generation’s way of thinking and urban romantic comedy. At first glance, these early films seem to be quite different from his later acclaimed works. But under close inspection, the large number of long shots, the back-and-forth between Taipei and the countryside, and the directionless love affairs are obviously the start of ‘New Cinema’ and Hou’s signature style. His peer Lee Mi-mi focused on using the middlebrow sensibilities to explore the situation of contemporary women that included topics such as marital strife of professional women and cases of single motherhood. Our selection Girls’ School (1982) touches on topics like homosexuality, sex culture, and family. The film brings up these hot topics in a broad social level, showing various viewpoints with a rational and compassionate attitude, and always sticking to the warm respects of human relations.

There is no one path or experience that can encapsulate the rich and diverse field that is Hong Kong cinema. By tracing the history of Chinese-language films and sorting out the intricate contexts, we can understand the historical pattern and achievements of Chinese-language films from these ties that spanned across regions and eras. Among them are the unique and lasting brilliance of Hong Kong cinema and the beauty in its interaction with other films.


Thrice the Goddess
These three rare films by three Mandarin cinema masters are all related to Hong Kong. Rouge Tears (1938)—Wu Yonggang’s remake of his own classic film The Goddess (1934)—was shot in the peaceful pre-war Hong Kong. Refashioning silent cinema into sound film has added entertainment appeal yet sound and silent do not invalidate each other since the latter maintains the spirit of the original silent film. In the same era, Hong Kong’s Cantonese actors had also tried their luck in Shanghai. Nancy Chan was considered the most successful example. In The Angel (1939), she sings and dances skilfully while her ability to handle both comedy and tragedy in the role of a modern woman is stunning. This is also one of the best work in director Griffin Yue Feng’s early career and a record of the development of Chinese musical films. The Goddess’s strong influence can likely be seen in Zhu Shilin’s post-war Hong Kong film The Third Generation (1948), which feels like adding prequel and sequel to the silent classic. Unlike the purely artistic direction of the original, Zhu boldly criticises the new thought at the time while reflecting on the old beliefs and the hopes of the nation’s future generations.

Online talk by Law Kar and Lau Yam. See details in the tab ‘Talks’.

History Hour
The three films in this part are related to history. Singapore,a country with an ethnic Chinese majority, was established in 1965, which marks an important milestone for anti-colonialism/ imperialism for Asian regions seeking independence. 1960’s The Lion City tells the love story of a business heir and a factory girl against the backdrop of the nation’s gestation period, demonstrating how the people could participate in the nation-building through melodrama. History is a vast and complicated subject, but it can also be ordinary slices of life. Taiwanese photographer Deng Nan-guang’s home movies focus on the faces of his young children, and documents the local customs and personal impressions from his own perspective. These personal impressions are self-contained yet it is hard to conceal the historical background of these everyday images. Finally, A Morning in Taipei (1964) affirms the urbanisation of Taipei by composing a visual cadence for its movements. The realist rearrangement of a large number of ordinary people and social activities burst with vigorous artistry. 

Prelude to New Cinema

These three recently restored or rediscovered Taiwanese films allow us to see how then-young and middle-aged filmmakers have explored new styles before the formation of New Taiwanese Cinema. Lee Hsing, who represented an older generation, was already implementing changes when he directed 1979’s Good Morning, Taipei. The lives of young people are unstable yet they have dreams as they gradually comprehend their true feelings with a nonchalant attitude. In Hou Hsiao-hsien’s Cheerful Wind (1982), Penghu’s sound of wind and smell of sea water rush in as soon as the film begins. The singers and actors inhabit the real and expansive location, embodying the authentic feeling of romance. Girls’ School (1982) depicts an enchanting campus with the blissful energy of school girls yet it touches on contemporary social issues such as sexuality, single-parent family, youth psychology, and public opinion. These three films witness the burgeoning of realism in entertainment-oriented genres with the condition and value of people gradually becoming the focus of the drama.

Online talk by Ka Ming and Lau Yam. See details in the tab ‘Talks’.


A Quick History of Film Technology: Gauges and Aspect Ratios

Cinerama: A New Dimension of Widescreen Cinema

Date & Time: 06.10.2022 (Thu) 20:00
Via Zoom online meeting
Speaker: Kathryn Penny

In English

Launched in 1952, Cinerama was a ground-breaking 35mm 3-camera, 3-projector process; discontinued after a mere decade of its debut, it posed a major challenge to the preservation, restoration, and exhibition of films presented in this one-of-a-kind format. Kathryn Penny from the National Science and Media Museum whose Pictureville Cinema is one of the world’s three existing cinemas specially outfitted for Cinerama, shares her knowledge of the technology and her work curating the Widescreen Weekend that celebrates everything extraordinary in large format film.


Penny is the Head of Screen and Cultural Engagement at Bradford’s National Science and Media Museum. She leads the Museum’s screen festivals programme including Widescreen Weekend and Yorkshire Games Festival. Kathryn is also a guest lecturer in filmmaking and film programming at the University of Bradford and a voluntary Director for the community organisation Impact Gamers.

The Brilliant History of Wide-gauge Films

Date & Time: 14.10.2022 (Fri) 20:00
Via Zoom online meeting
Speaker: Elif Rongen-Kaynakçi

In English

In the early days of cinema, innovators and filmmakers raced to come up with film inventions and equipment for ever-higher picture quality, which led to technologies that even surpassed today’s 8K resolution imaging. Elif Rongen-Kaynakçi, Curator of Silent Film at the Eye Filmmuseum in the Netherlands, talks us through the evolution of wide-gauge film systems, the museum’s collection of 68mm Mutoscope and Biograph films, and its work restoring these films made over 120 years ago.


Rongen-Kaynakçi is the Curator of Silent film at Eye Filmmuseum. Since 1999 at Eye, she has worked on the discovery, restoration and presentation of many presumed lost films. She works continuously for the preservation and presentation of Eye's silent film holdings in various ways, including among others the Desmet Collection (1907-1916), and the Mutoscope & Biograph Collection (1896-1902). Rongen-Kaynakci is also directly involved with international archival festivals Il Cinema Ritrovato, Le Giornate del Cinema Muto and other events dedicated to silent cinema.

Contemporary Creative Works with Celluloid: Found Footage

The Decay and History of Films

Date & Time: 13.10.2022 (Thu) 20:45
After the screening of The Village Detective: a song cycle
Venue: House 4, Broadway Cinematheque
Speaker: Bill Morrison

In English with Cantonese interpretation

The speaker will share the work he has been doing with found footage filmmaking, which involves the creative and editing processes with huge amount of archival footage. especially for his recent documentaries.

Morrison is based in New York, Morrison makes films that reframe long-forgotten moving images. He made over forty works since the 1990s by using archival materials or pre-existing sources with original music. His films have premiered at the New York, Rotterdam, Sundance, and Venice film festivals. In 2014 Morrison had a midcareer retrospective at MoMA. Since his found footage opus Decasia (2002), he has shown particular interest in the motif of decomposition of film materials.

Archival Footage and Montage Experiments

Date & Time: 16.10.2022 (Sun) 20:00
Via Zoom online meeting
Speakers: Linda Lai Chiu-han and Peet Gelderblom

In English

The speakers will discuss their works in respect of their perspectives on found footage filmmaking, narrative experiments and gender representations.


Lai (Ph.D, NYU Cinema Studies), Associate Professor (intermedia arts) at the City University of Hong Kong’s School of Creative Media, is a scholar cum research-based interdisciplinary artist focusing on historiographic experiments which often involve found footage and video diaries. She had her solo retrospective at the Experimental Film/Video Festivals in Macau, Seoul and Cordoba, Spain. Her video works are archived by M+ and Video Bureau. She was awarded Hong Kong Arts Development Council's ‘Artist of the Year 2017 – Media Art’.
Gelderblom is an award winning director and editor from the Netherlands with over 25 years of experience in films, commercials, documentaries, drama, television, video essays and online content. He’s a sharp visual storyteller and conceptual thinker. With his keen sense of style, mood, drama, musical timing and graphic eye for composition, Peet is an expert at giving audio-visual content the exact look and feel it needs.

Rediscover and Restructure: Chinese-language Lost Gems and Restored Classics

Thrice the Goddess between Shanghai and Hong Kong

Date & Time: 22.10. 2022  (Sat) 20:00
Live Stream on Facebook
Speakers: Law Kar and Lau Yam

In Cantonese

Ruan Lingyu’s beauty was a timeless icon in The Goddess (1934) and the classic was remade a few years later in Hong Kong. At the same time, Cantonese actress Nancy Chan headed north. Her valiant cross-dressing in Mulan Joins the Army (1939), and her skilful singing and dancing in The Angel (1939), reveals her gorgeous and dynamic modern charisma. Master Zhu Shilin values Chinese culture and moral dilemma and his post-war film The Third Generation (1948) examines the inheritance of these. Film researcher Law Kar, and Lau Yam, the curator of this section, will review the precious films and the works by Wu Yonggang, Yue Feng, and Zhu Shilin, and discuss the exchanges and achievements between Shanghai and Hong Kong film industry in the 1930s and 1940s.

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Hou Hsiao-hsien and others before the New Taiwanese Cinema

Date & Time: 23.10.2022 (Sun) 20:00
Live Stream on Facebook
Speakers: Ka Ming and Lau Yam

In Cantonese

The New Taiwanese Cinema in the 1980s was a significant art house film movement internationally, but as the major figure Hou Hsiao-hsien said: 'I didn't pop up all at once, I was honed by time.' Long before the movement, Taiwanese Cinema was already looking for a breakthrough. Hou‘s early films as director are romantic comedy, dealing with love and open relationship between young professionals, and are fast-paced with pop songs, which will surprise his fans as on the surface these bore little resemblance to the director’s signature cinematic style in later days. In that period, socially sensitive and controversial issues appeared onscreen frequently and director Lee Mi-mi’s works dealt with these issues including unmarried mothers, professional women and homosexuality with meticulous care. Ka Ming, senior film critic, and Lau Yam, the curator of this section, will explore the new attempts of mainstream Taiwanese films in the early 1980s, and especially focus on Hou Hsiao-hsien and Lee Mi-mi's works.

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Date Time Online Talks
6/10 (Thu) 20:00

Cinerama: A New Dimension of Widescreen Cinema

14/10 (Fri) 20:00 The Brilliant History of Wide-gauge Films
16/10 (Sun) 20:00 Archival Footage and Montage Experiments
22/10 (Sat) 20:00 Thrice the Goddess between Shanghai and Hong Kong
23/10 (Sun) 20:00 Hou Hsiao-hsien and others before the New Taiwanese Cinema

9/10 (Sun) 10:30 The Wonderful World of the Brothers Grimm ^
9/10 (Sun) 15:00 Conflagration ^
9/10 (Sun) 17:00 Love Without End *

Date Time Broadway Cinematheque
13/10 (Thu) 19:10 Cinematograph + Sunken Films + The Village Detective ^
13/10 (Thu) 20:45 Seminar—The Decay and History of Films
15/10 (Sat) 14:10 A Day after a Hundred Years + Swim and Swim + Sunrise ^
15/10 (Sat) 16:35 The Brilliant Biograph and the making-of + The Bat Whispers
15/10 (Sat) 19:20 Train Again + The Exquisite Corpus + Ultraviolette and the Blood-Spitters Gang *
16/10 (Sun) 12:45 Doors Medley + When Forever Dies ^
16/10 (Sun) 17:05 The Ordinary Scenes, Deng Nan-guang’s Collections: Taipei Image + Good Morning, Taipei ^
20/10 (Thu) 19:05 The Lion City^ *
21/10 (Fri) 19:15 The Angel ^ *
22/10 (Sat) 13:25 Rouge Tears ^
22/10 (Sat) 15:40 The Third Generation ^
23/10 (Sun) 13:00 A Morning in Taipei + Cheerful Wind ^
23/10 (Sun) 15:15 Girls’ School ^

^Pre-screening introduction
*Post-screening talk

Tickets are available from 19 September 2022

Screenings at Broadway Cinematheque (BC)

Address: 3 Public Square Street, Yau Ma Tei, Kowloon

HK$85 Standard
HK$68 Children, seniors, students and bc VIP member

Ways to Purchase:
Available at the cinema box office and self-service ticketing machine
Internet Booking:
Telephone Booking: 2388 3188

For online and telephone bookings, a handling charge of HK$8 (Mondays to Fridays) or HK$10 (weekends and public holidays) per ticket will be levied. All handling charges collected are non-refundable.

Address: 2130, 2/F, Fire, ELEMENTS, 1 Austin Road West, Kowloon

HK$85 Standard
HK$68 Children, seniors, students and bc VIP member

HK$100 The Wonderful World of the Brothers Grimm
HK$80 The Wonderful World of the Brothers Grimm: Children, seniors, students and bc VIP member
HK$200 For Hong Kong Kids International Film Festival member, including 2 adults and 1 child tickets of The Wonderful World of the Brothers Grimm, applicable for purchasing at the cinema box office only.

Ways to Purchase:
Available at the cinema box office and self-service ticketing machine
Internet Booking:
Telephone Booking: 2388 3188

For online and telephone bookings, a handling charge of HK$8 (Mondays to Fridays) or HK$10 (weekends and public holidays) per ticket will be levied. All handling charges collected are non-refundable.
Programme Enquiries

Tel: 6403 4035 (10am–6pm, Mon-Fri)

All programmes are subject to change. Updated information will be available on our website.

The Categories of some of the films in the programme are not yet rated by the Office for Film, Newspaper and Article Administration at the time programme information being uploaded. If any films are classified as Category III, notice will be posted online.

Refund Arrangement

All tickets are non-refundable and non-exchangeable unless for any alteration or cancellation of screenings by the presenter, and ticket holders under 18 years of age who buy tickets before the announcement of a film is classified as Category III, ticket holders may get a refund during the assigned period. Please refer to our website for refund procedures.


Bill Morrison
Bunn Lau
Chanel Kong
Debbie Lee Su
Elif Rongen-Kaynakçi
Dr. Giovanna Fossati
Jim Lau
Ka Ming
Kathryn Penny
Dr. Linda Lai Chiu-han
Law Kar
Peet Gelderblom
Tim Chan

Special thanks to

British Film Institute
Cathay-Keris Films Pte. Ltd
Celestial Pictures Limited
Cinerama, Inc.
Eye Filmmuseum
Hong Kong Film Archive, Leisure and Cultural Services Department
Hong Kong Kids International Film Festival
Mary Pickford Foundation
National Science and Media Museum
Park Circus Group
Star Alliance Movies (HK) Co., Ltd.
Tangerine Tree
UCLA Film & Television Archive
waveincity x waveroom studio

Supported by

Hong Kong Arts Development Council fully supports freedom of artistic expression. The views and opinions expressed in this project do not represent the stand of the Council.

All rights reserved. The publication, reproduction, extraction or transmission of all or part of the programme, in any way without the prior consent of Reel to Reel Institute, is prohibited.