I don't really know how everything ties together nor can I make sense of it, but I really enjoyed HOLLYWOOD HONG KONG.

It's like a magical realism/pitch-black comedy about the divide between the rich and the poor and how much influence China has brought upon Hong Kong.

Or it could be about how cruelty of man is so common in the world that any action that women take in the film is shown to be joyous and positive, yet unfathomable, unforgivable and off-kilter.

Or it's all bullshit, but either way, I enjoyed the ride of HOLLYWOOD HONG KONG.

The first half is goofy and almost romantic, with Zhou Xun prancing around the denizens of a slum making men inordinately happy (a father-son pair of very large hog butchers, a young pimp with a website), like some kind of magical Mainland orgasm fairy.

Then, in the second half, she disappears and its revealed that she's been running a scam on them all, demanding extortion payments via messages through her shady attorney. The comic tone is still there (a botched arm reattachment, a prodigal pig) but one late film death crosses the line between dark comedy and mean-spiritedness, though Zhou's cynically happy ending is lovely.

Relatively slow paced art house film from Fruit Chan.
I really liked that it was filmed in the now demolished Tai Hom squatter village. It is a side of Hong Kong that doesn't get shown very much, and pretty much doesn't exist anymore.
Zhou Xun was good and the the butcher and his 2 sons were great.
I thought the role of the doctor was just way too over the top so that was a shame.
The image of the nude lady in the slaughterhouse on the back cover does not exist in the film.
Great $1 DVD purchase from the Amoeba bargain bin. The music is pretty cheesy.

O filme mantém o interesse social dos anteriores mas agora dentro de uma abordagem quase lúdica-fetichista. Chan parte das relações de um espaço de extrema desigualdade (uma favela na frente de um flat de luxo chamado Hollywood) e vai fantasiando alguns acontecimentos que vão desde uma prostituta e um mafioso dando golpes em alguns habitantes da favela a uma família de açogueiros com uma relação proto-sensorial com os porcos que assam. Não tem o mesmo peso dos filmes diretamente mais políticos, mas essa relação entre fantasia e realidade social não deixa de ser muito bem mediada.

Considering how dark it is at times, it's an oddly wonderful film :-)

不再像是榴蓮飄飄般接近紀錄片的拍攝與敘事，反而是類似《去年煙花》的一點荒誕寫實、黑色幽默，敘事更像是一種不講邏輯的拼貼。
兩隻左手的少年，走失了豬的豬肉佬，錯手殺人、在鐵皮屋頂上奔跑、大陸女醫生、盪鞦韆，種種荒誕情節。
總是有著各種符號：紅色、肉（慾望？）、性、豬，似是有很多東西要表達，卻往往不清楚究竟在表達甚麽。甚至連作者對不同角色、事件的褒貶態度都很含糊。不過也許這就是這群底層人民的生存狀態：甚麽道德標準、邏輯意義，根本未曾存在過。很矛盾，充滿玩味至於卻又很可悲，永遠注定是被壓榨的一群人。

After a career out of Ken Loach style social realist films, Fruit Chan goes all Jean-Pierre Jeunet in this quirky but grotesque fable focusing on the twilight of the Diamond Hill shanty town - one of the last slums in Hong Kong. Fans of his early efforts such as the Handover/1997 trilogy and Durian, Durian would probably be disappointed in the sudden shift in direction. However, it is definitely worth checking out for the degree of visual inventiveness while maintaining the trademark social commentary that we have come to associate with Chan.

不再像是榴蓮飄飄般接近紀錄片的拍攝與敘事，反而是類似《去年煙花》的一點荒誕寫實、黑色幽默，敘事更像是一種不講邏輯的拼貼。
兩隻左手的少年，走失了豬的豬肉佬，錯手殺人、在鐵皮屋頂上奔跑、大陸女醫生、盪鞦韆，種種荒誕情節。
總是有著各種符號：紅色、肉（慾望？）、性、豬，似是有很多東西要表達，卻往往不清楚究竟在表達甚麽。甚至連作者對不同角色、事件的褒貶態度都很含糊。不過也許這就是這群底層人民的生存狀態：甚麽道德標準、邏輯意義，根本未曾存在過。很矛盾，充滿玩味至於卻又很可悲，永遠注定是被壓榨的一群人。

Jak to u Chana, oczywiste metafory i sporo groteski. Zaskakująco dużo humoru.

本來以為應該是很好食嚥的電影，但結果好像不是這樣。
劇情主線很好理解，整部片荒謬怪誕，黑色幽默。
但導演企圖心的藏了很多影射的符號在裡面，大概是最厲害的地方。
整部片有大量的紅色色調，有些地方會覺得奇異的美，然後場景會很直接的聯想到《醉生夢死》。

Tong- Tong tiene el mundo a sus pies.

I don't really know how everything ties together nor can I make sense of it, but I really enjoyed HOLLYWOOD HONG KONG.

It's like a magical realism/pitch-black comedy about the divide between the rich and the poor and how much influence China has brought upon Hong Kong.

Or it could be about how cruelty of man is so common in the world that any action that women take in the film is shown to be joyous and positive, yet unfathomable, unforgivable and off-kilter.

Or it's all bullshit, but either way, I enjoyed the ride of HOLLYWOOD HONG KONG.

I’ll always remember the opening credit sequence

#妓女三部曲电影马拉松# 拍摄手法我太喜欢了！配乐和摄影完美契合。周迅是天仙下凡，来到这个肮脏的世界。

The first half is goofy and almost romantic, with Zhou Xun prancing around the denizens of a slum making men inordinately happy (a father-son pair of very large hog butchers, a young pimp with a website), like some kind of magical Mainland orgasm fairy.

Then, in the second half, she disappears and its revealed that she's been running a scam on them all, demanding extortion payments via messages through her shady attorney. The comic tone is still there (a botched arm reattachment, a prodigal pig) but one late film death crosses the line between dark comedy and mean-spiritedness, though Zhou's cynically happy ending is lovely.

妓女三部曲 "东芳红"以及医生代表的大陆造成了虎头蛇尾以及借猪生子的后果,片中事物的错位暗讽现实制度的嫁接;从Hollywood解放只是表象,只要还在hk就永远能看到遮住阳光的荷里活,而民众活在这五指山下。烤乳猪跟性交的那段双曝还有碎尸真的是令人反胃orz

The prostitute Trilogy "Dongfang Hong" and the mainland represented by doctors created the consequences of a snake in the tail and the birth of a pig. The misplacement of things in the film implies the grafting of the real system. The liberation from Hollywood is just a representation. As long as HK is still there, we can always see Hollywood hiding the sunshine, while the people live under this Five Fingers Group. The double exposure of the roast suckling pig to sexual intercourse and the shredded corpse are really nauseating orz