Halfway through director Heiward Mak’s new short film, SAR², Eric Tsang takes a tumble in front of a propaganda sign in Shenzhen’s Qianhai new development zone. “Supported by Hong Kong, Serving the Mainland, Facing the World,” reads the billboard, reflecting the area’s goal of attracting 100,000 Hong Kong permanent residents to live and work there.
In the film, Tsang plays Lee To, a Hong Kong man who has retired to Qianhai, where he falls in love with Lady Cheung, played by Taiwanese actress Kelly Tien, a native Shenzhener whose oyster farming village was cleared for land reclamation. In one intimate scene, Cheung asks Lee if he misses living in Hong Kong. “I can’t really say,” he replies. “Hong Kong is not my home anymore.”
SAR² is a story of alienation and ambiguity: Lee and Cheung live in spacious, comfortable apartments, but they are surrounded by vast construction sites and cut off from their families. Their romance seems to be as much a salve for loneliness as it is based on any kind of mutual attraction. “They’re wondering, ‘What am I looking for?’” says Mak.
It’s a natural project for Mak, whose acclaimed 2008 debut, High Noon, dealt with a similar kind of rootlessness. And while her notoriety has so far been limited to Hong Kong, SAR² made its debut far from these shores, in Italy, where Hong Kong is participating in the 14th Venice Biennale of Architecture, the world’s largest and most venerable showcase of the built form. 65 countries have mounted exhibitions in the biennale, which runs from June 7 to November 22, along with hundreds of other shows and events taking place throughout the island city.