Soi Cheang Discusses Directing Action, the Sequel to Twilight of the Warriors, and the Outlook for Hong Kong Cinema

      While not as renowned as many of his peers from Hong Kong, Soi Cheang has effectively mastered nearly every genre and style cherished by the national cinema. His early cult hits like New Blood and the Johnnie To-produced Accident paved the way for successful films like Kill Zone 2 and the blockbuster Monkey King trilogy. In recent years, Soi has blended festival favorites like Limbo with major international crossovers such as Twilight of the Warriors: Walled In.

      It’s no surprise that he would give a masterclass seminar at this year’s Tokyo International Film Festival, which concluded with a screening of Walled In. I had the privilege of speaking with Soi shortly before the seminar started, and over the course of thirty minutes, I received a personal insight into his experience in Hong Kong’s film industry over the past twenty-five years.

      The Film Stage: You’ve directed numerous films across various genres, including subgenres. When asked to give a masterclass, did any consistent advice emerge—some core principle of your practice?

      Soi Cheang: Regarding the artistic side and film handling, I don’t have much to instruct new directors on; I don’t want to stifle their creativity. What I can share is my experiences and how I navigate challenges during filming. I believe this is the most effective way to influence emerging directors.

      What are the recurring challenges you’ve faced as a filmmaker?

      Loss. I often feel lost during shoots. It's a common experience. When a director aims to convey their own ideas in the creative process, feelings of confusion arise in various stages. This is quite normal. A creative individual will experience this loss repeatedly throughout their life, as they search for their own path in filmmaking, ultimately arriving at what feels right. The journey is lengthy, and losing one’s way is part of it until they can confidently say, “This is my style.” Embrace the loss.

      In regard to films like the Monkey King trilogy, which feature extensive effects, Accident, which is smooth and romantic, Motorway, with a traditional action-thriller aspect, and Limbo, a gritty detective film—what distinguishes the ways you experience confusion in each?

      The Monkey King is part of a franchise. It serves as a significant learning experience for me. I aimed to “hide myself” because the franchise's identity overshadows the director; the characters hold more importance. My goal was to present the story to the audience without revealing much of myself, which may be interpreted as a kind of “loss”—that I needed to return to Hong Kong and shoot Limbo to rediscover my style. I also felt some uncertainty about whether I was pursuing the right direction or style, and ultimately I decided on shooting Limbo in black-and-white.

      Many of your recent films involve action and crime, whereas you started in horror. Do you think this early work has left a lasting influence on the tone and shape of your films, which tend to be darker than a typical action or detective story?

      Absolutely, I believe my early horror films instilled strengths in me. I learned how to create atmosphere and mood. Over time, as I directed horror films and cultivated that atmosphere, my style developed. Initially, I was adept at this, and once I identified my style, I realized, “This reflects how I perceive the world, and this is how I want to convey films.” Past work influences current projects.

      You’ve been candid about the influence of certain mentors you’ve worked with. Your time at Milkyway and your experiences with Ringo Lam have significantly impacted you.

      Ringo Lam often approached film from a darker perspective, highlighting the struggles of people: “These are the fortunate ones, but there’s always a shadow side.” That’s what I learned from Ringo. Meanwhile, from Johnnie To at Milkyway, I absorbed a distinctive attitude. Before collaborating with Johnnie, I had already directed multiple films, and when the time came to work together, I truly understood the beauty and profound nature of filmmaking.

      It isn’t an easy journey. Even with multiple films under your belt, there’s always room for improvement, and that’s how they function. From Ringo, I learned to consider the darker aspects of humanity, while from Johnnie To, I learned to elevate the overall film experience.

      Did your collaboration on Accident and Mad Fate change your working relationship with To?

      I anticipated that after several projects, Johnnie To would have more confidence in my abilities, but he remained consistent: his feedback is always direct and candid. If something isn’t right, he won’t shout but might become frustrated. But I appreciate that! [Laughs] Returning to Milkyway after directing several films felt like going back to school.

      With your significant international success from Twilight of the Warriors, have you perceived any changes in your standing within the Hong Kong industry? What pressures arise for someone aiming to maintain a creative role?

      Certainly, my later work has been influenced by it. Given