A New Series by Tsui Hark and a Theatrical Release Highlight a Hong Kong Icon.
Tsui Hark's films may be too unconventional for American audiences to fully embrace. The cinematic works, which can be difficult to catalog precisely, are a mix of delirium, exhaustion, brilliance, and moodiness, all while maintaining a clear moral perspective, yet they often leave viewers confused about the plot. Finding a decent, legally obtainable copy of his films is a challenge. However, the ones that resonate do so powerfully, and Metrograph's upcoming retrospective, Don’t Play with Fire, effectively highlights his finest creations. (Although in the case of Knock Off, perhaps Rob Schneider's work is emphasized.) As the event kicks off on September 4, we are excited to unveil the trailer.
Accompanying the trailer is an exclusive excerpt from his landmark feature, Don’t Play with Fire (often known as Dangerous Encounters of the First Kind), which is also part of the Metrograph series and has been acquired by Cult Pics for theatrical release in the U.S. This film is a wild and intense entry in his portfolio (notably including a disturbingly unacceptable act of animal cruelty) and has only been seen in copies that resemble those obtained through black market exchanges; they very well might be. Its forthcoming release serves as a significant reclaiming of Tsui's legacy in Hong Kong cinema.
The theatrical debut of Don’t Play With Fire follows Cult Epics' Limited Edition Blu-ray release from June, which included three versions of the film — featuring the banned original Chinese cut — along with new interviews with actors Paul Che and Albert Au, screenwriter Szeto Cheuk-on, and assistant director O Sing-pui. After its opening at Metrograph on September 11 and at the American Cinematheque’s Los Feliz 3 in Los Angeles on September 14, the film will continue its tour to cities such as Toronto and Seattle, with more locations to follow.
Watch both below:
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A New Series by Tsui Hark and a Theatrical Release Highlight a Hong Kong Icon.
Tsui Hark's films may be too overwhelming to be fully appreciated by American viewers. The movies (a precise history of which can feel impossible to maintain) are frenetic, draining, exceptional, capricious, grounded in moral clarity, and seldom provide a completely clear understanding of the plot. Additionally, it can be quite challenging to find more than a