Yuk-Long‘s absconding after killing his father drags people around him into a whirlpool that intertwines their fate. Is the core of this turmoil an abyss of darkness or a silver lining?
Yuk-Long, a high school student, runs away and hides in the mountain after killing his father. Chi-Leung, the only one who knows Yuk-Long’s whereabouts, carries necessities to him every week.
Confused and dispirited, Chi-Lueng meets Nim-Lam, a smart and rebellious university student. They realise their feeling of loss in this era of nothingness is shared. Their encounter affirms the belief that they are the only people that can understand each other.
Yu, the class teacher of Yuk-Long, dwells in the pain of his break up with girlfriend who is about to emigrate. Because of this unbearable heaviness of the sentiments, he finally realises the feeling of loss in him.
In the face of her son killing her husband, Mei, a Christian, asks God why this happened. The more she counts on her faith, the more she questions the nature of it. Caught up in the feeling of loss, Mei hopes for nothing but having her disappeared son returning to her.
Five lost souls each suffer in their own puzzlement. “Yuk-Long’s parricide and absconding” has engulfed all of them in a whirlpool and got their paths entangled. Is the core of this turmoil an abyss of darkness or a silver lining?
「這種魚叫『香蕉魚』。牠們本來只是一種很普通、很普通的魚，可是牠們游進了一個洞，洞裡有很多香蕉，牠們便把裡面的香蕉吃光，吃得很胖，就再也游不出去了。」昱朗這樣向至亮解釋「香蕉魚」的意思，而「香蕉魚」是昱朗經常塗鴉的圖案 – 這個城市大部分人都活得像「香蕉魚」一樣。
每個時代，都有屬於它的迷惘與無力；透過少年稚真的眼睛，這份迷惘與無力，好像可以看得特別清楚。而每個時代都會有電影，懷著這樣的少年目光 – 台灣的有《牯嶺街少年殺人事件》、中國的有《大象席地而坐》、香港的，也有1997年的《香港製造》……《我們不得不如此》希望成為一套，懷著今日香港少年目光的電影。
“This is called ‘banana fish‘. They were just ordinary fish, but they swam into a hole and there were lots of bananas in it. So, they ate all the bananas inside and got too fat to swim out of the hole.” This is how Yuk-Long explains the meaning of “banana fish” to Chi-Leung, a symbol that Yuk-Long often scribbles. Most people in this city live like “banana fish”.
Every era has its own confusion and powerlessness, and through the eyes of a young boy, these sentiments seem to be particularly clear. And in every era, there are films that adopt such a juvenile gaze – in Taiwan, there is A Brighter Summer Day; in China, there is An Elephant Sitting Still; in Hong Kong, there is Made in Hong Kong produced in 1997. The Only Way Out hopes to be one that embraces the teenage gaze of today’s Hong Kong.
YEUNG Leung-chuen is a scriptwriter and independent filmmaker. He graduated from the Chinese University of Hong Kong with a major in Journalism and Communication. He won Best Director at the 12th Fresh Wave International Short Film Festival with The Bridge. His scriptwriting work Liu Yang He and Wild Child were awarded Best Picture at the 11th and 14th Fresh Wave International Short Film Festival respectively.
Jun LI’s directorial feature debut, Tracey, premiered at the Tokyo International Film Festival and his second feature, Drifting, premiered at the International Film Festival Rotterdam, nominated for 12 awards at the Golden Horse Awards, winning Best Adapted Screenplay Award. His short My World received a nomination for the Best Short Film at the Golden Horse Awards; and Liu Yang He won the Best Film and Best Director at the Fresh Wave Short Film Festival.
Graduate of the Hong Kong Academy for Performing Arts School of Film and Television (First Honour), HO Fai‘s cinematography work The Drop Out of Her won Best Cinematography of the 13th Fresh Wave International Short Film Festival.
影像單位 / 製作公司
Film Unit / Production Company