hong Kong Filmmaker Defies Censorship, Embraces Life “With Fear”
Hong Kong is experiencing a chilling effect on free expression, where open criticism of the government adn the Chinese Communist Party (CCP) is increasingly rare. Despite this climate of self-censorship,filmmaker Kiwi Chow remains a defiant voice,continuing to produce work that challenges the status quo.
In a region where even wearing a “seditious” T-shirt can lead to imprisonment,Chow’s continued presence and creative output are remarkable. “The Chinese communist party’s practice is to try and destroy history and truth,” the 46-year-old director stated from his home in Hong Kong. “It’s ridiculous that I can still live in Hong Kong without being in jail.”
Chow first gained international recognition for his 2021 documentary, Revolution of Our Times, a raw and visceral account of the 2019-20 pro-democracy protests. His latest film, Deadline, a drama focusing on the pressures within an elite private school, has now been banned in Hong Kong. On December 12, the city’s film censorship authority refused to grant approval for its release, citing “national security concerns.”
Chow, however, has chosen not to appeal the decision, deeming it “futile.” He expressed heartbreak over the impact on his team, stating, “This film is the hard work and dedication from so many people – the investors, the actors, and the crew.” Despite the injustice, he affirmed his commitment to filmmaking, declaring, “In response to this unfair judgement, my reaction is: I will stick to my filming path.”
Independent cinema curator Shelly Kraicer noted that Chow “doesn’t shy away from addressing quite directly the political constraints that he perceives he’s under.” This willingness to confront sensitive issues has made Chow a target, with authorities seemingly aiming to stifle his career rather than imprison him. “They don’t want to arrest me, but they want to destroy my creative career,” Chow explained.
The censorship of Deadline comes amidst a broader crackdown on dissent in Hong Kong, highlighted by the aftermath of the Wang Fuk Court fire in November, which claimed the lives of at least 160 people. Less than two weeks after the tragedy, Hong Kong held legislative council elections limited to “patriots only”-candidates vetted by the government. With the public reeling from the disaster and questioning government accountability, abstaining from the vote became the safest form of protest. Turnout plummeted to a near-record low of 31.9%.
Chow himself did not vote and has been openly critical of the government’s handling of the fire, alleging “collusion between officials and businesses, shoddy workmanship, lax oversight, rampant corruption and an unbalanced system.” Investigations are underway, with several individuals arrested on suspicion of manslaughter, and authorities claim to be “going all out” to determine the cause of the blaze.
The fire served as a meaningful test of Beijing’s control over hong Kong following the 2019-20 pro-democracy protests, which were suppressed by the imposition of a sweeping national security law. Chow’s 2021 documentary, Revolution of Our Times, filmed from the frontlines of those protests and named after a banned slogan – “Liberate Hong Kong, revolution of our time” – signaled his refusal to be silenced.
While Deadline isn’t overtly political in its narrative-set in an unnamed Asian city and focusing on the pressures within an elite private school-Chow believes the authorities are using it as an example. He points to the intensifying pressure on educators to incorporate national security into the curriculum,questioning what happens when “history,society and truth need to be distorted in school?” He recounted speaking with a physical education teacher struggling to integrate national security concepts into sports lessons.
Recent events, including the December 15 conviction of pro-democracy activist and publisher Jimmy Lai on national security charges, underscore the escalating repression. Despite the risks, Chow remains resolute. he believes arresting him would only draw more attention to his work and concedes that while it remains a possibility, he prefers to utilize his remaining freedom to speak out.
“Even if we left Hong Kong,the fear would linger,” Chow saeid,referencing Beijing’s increasing practice of targeting critics abroad.”I want to stay in Hong Kong and get used to living with fear.”
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