NOTHING HAPPENED | 什麼都沒有發生

Goal 參與目標
Script Refining, Funds, (Co-)producer, Production Team
完善劇本、籌集資金、（聯合）監製、製作團隊

Logline 故事摘要
In the twilight of British Hong Kong, Cheung Tak Chi, a master intermediary shaped by the city‘s relentless pulse, seeks closure with a past love amidst his final, lethal entanglement.
資本代理人張得志中槍垂死，在生命的最後時刻，他追憶起舊愛沈英潔，以及他與英殖香港交錯變幻的一生。

Synopsis 故事大綱
As a bullet seals his fate, Cheung Tak Chi’s life unfurls in a final, poignant tableau, his thoughts adrift to Shum Ying Kit – the one he left in Hong Kong’s austere labyrinth. Their paths crossed in ’84, her mainland spirit and quest for autonomy resonating with him, yet he stepped back into the shadows, fearful of the entanglements of her love.
Orphaned by his mother in youth, Tak Chi’s heart was schooled in detachment, a skill that served him well as the silent partner to capitalists across vibrant locales – Nigeria’s burgeoning markets, Vancouver’s mosaic of migrants, and China in the throes of reform. His existence, a delicate balance of presence and absence.
As Hong Kong stood on the cusp of its handover, a ghostly longing for Ying Kit took hold. A detective’s search through fading memories revealed her truth – a life beautifully sculpted in the solitude he had left her to, a stark contrast to his own unmoored journey.

資本代理張得志被槍擊，垂死之際竟然牽掛多年不見的沈英潔。84年於香港相識，英潔是大陸移民，張得志被她勇敢追求獨立的特質吸引，但他不願被人牽絆，有感對方墜入愛河，便斷然離開，永不相見。
張得志童年被母親拋棄，由上海送來香港，青年時癡心錯付教會認識的英國女士，自此活在當下，不對人投入任何感情，不植根任何地方。
這特質讓他成為最好的第二把手，七十年代在獨立後的尼日利亞、八十年代在移民潮的溫哥華，九十年代改革開放的中國，他不帶任何情感地為資本家淘金，協助尼日利亞狂人雪茄黎、英國紳士托圖、香港投機者黑豹阿符等，處處瀟灑走一回。
香港回歸，他無意間憶起英潔，追查之下，發現她原來已活出獨立美好的人生。

Director’s Statement 導演闡述
Post-war Hong Kong was indeed a sanctuary amidst the high-pressure rule and white terror in its surroundings. In the film, on the day of the handover, Cheung Tak Chi ascends to The Peak, gazes upon the city’s nightscape, and remarks, “It’s as if nothing has happened in Hong Kong.”
Nothing Happened takes me back to that peculiar and distant era through its protagonist. He avoids emotional entanglements and no one can force him to turn left or right. However, whether this description applies to Cheung or to Hong Kong itself, the second-in-command prophesied demise seems, in hindsight, like a warning.
Cheung helped capitalists make their fortunes indifferent to the suffering of others. Seeing today’s chaotic world, as bystanders to Ukraine, Palestine, or Hong Kong, when we can’t make a change, should we just ignore everything and keep dancing?
Having witnessed Hong Kong’s struggles, I deliberately portrayed Shum Ying Kit’s life as more independent and politically engaged. She considers Hong Kong home, in stark contrast to Cheung, which to me, more closely reflects Hong Kongers of the last decade.

戰後的香港真是一片福地，香港的周遭，不是高壓統治就是白色恐怖，電影中張得志於回歸日登上山頂，看著香港夜景說：「香港好像甚麼都沒發生過。」
《什麼都沒有發生》透過主角，讓我回到那奇特而遙遠的年代，這人不落入感情牽絆，無人可以逼他轉左轉右，但無論這種描述落在張得志抑或香港，第二把手被殺的預言，於今天看來，都彷彿是一種事後警醒。
張得志協助資本家於各地淘金，無視他人苦難，看到今日紛亂的世界，旁觀烏克蘭、巴勒斯坦或香港，當我們無法改變，是不是都只能無視一切，繼續跳舞？
經歷這十多年來香港的變更，我特意把女角沈英潔的人生，寫得更為自主自立，她視香港為家，同時熱心社會，與張得志迥然不同，於我看來，更貼近今日的香港人。

Chan Tze Woon 陳梓桓
Hong Kong film director, his works are about Hong Kong’s personal memories and identity, challenging the boundaries of documentary and fiction. He has won the Ogawa Shinsuke Award at the Yamagata International Documentary Festival and the Best Documentary Award at HotDocs, twice nominated for the Golden Horse Award, and has been selected for international film festivals in Rotterdam, London and Busan. 

香港電影導演，作品講述香港個體記憶與身份，挑戰紀錄與劇情界線，曾獲山形國際紀錄片節小川紳介獎、加拿大國際紀錄片節最佳紀錄片獎，兩次提名金馬，並入選鹿特丹、倫敦、釜山等國際影展，美國影藝學會會員。