In the aftermath of a social movement comes an epidemic. A gay man reflects on trauma, mortality, and the collapse of civilisation through sexual intercourse with strangers.
Every time he enters a foreign space, whether he penetrates or gets penetrated, he wears a new identity. It seems only with a forged persona can he be honest with himself. Sometimes he meets his hook-ups again, but most of the time he does not. These encounters leave no trace in their lives. Yet they hold onto one another in this difficult time.
These sex partners come from all walks of life. There is an English teacher, a Thai karaoke server, a Pakistani deliveryman, a Brazilian chef, a Taiwanese flight attendant and a retired American banker. They all reside in different homes in this defective city of Hong Kong.
In this queer time and place, they discuss love and loss, monogamy and promiscuity, riots and peace, oppression and choices, insanity and numbness, to stay or to leave. They argue over notions of sovereignty, resistance and liberation. In today’s Hong Kong, these topics have become very common.
They have sex, hold or fail to hold conversations after sex, then they part. He wanders the streets and quietly observes, until he encounters the next man. His reality becomes so absurd it might blend with nightmares and memories.
In the end, everything always comes full circle.
This is my first autobiographical feature film. As gay men, our sexualities have always been a politicised subject, so it is a unique lens to scrutinise the current turbulence with reference to our social history of the AIDS epidemic and gay liberation.
With hook-up apps, urban gay men’s chance to collide is brought by our physical proximity. So, there is a higher chance to meet someone of a different class and culture than in our social circle. I am most intrigued by the conversations before and after sex because we share our intimate selves but ultimately, we are complete strangers. This is a heterotopia, a modern day underground gay mapping.
Unlike other works on gay men and promiscuity, this project is not about loneliness and isolation. On the contrary, it is about human connections, living with our vulnerability and our innate ability to support one another.
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.
YAM Yin Cheung, Peter
Peter YAM is a Hong-Kong-based independent film producer. His producing works include The Sunny Side of the Street (2022 forthcoming) directed by Ray LAU, My Silly Flirty Boy (2020) directed by Frankie SIN, Lost Course (2019) directed by Jill LI, Lost in the Fumes directed by Nora LAM, Blue Island (2022) and Yellowing (2016) directed by CHAN Tze Woon.
Works include Fly me to the Moon, Plain Sailing, The Dropout of Her, My World