Hong Kong's emerging filmmakers shine at Golden Rooster festival

A slate of seven new feature films brought the creative energy of Hong Kong's emerging directors into the spotlight at the 2026 China Golden Rooster and Hundred Flowers Film Festival, held in Xiamen, Fujian province, from Nov. 6 to 10.

A Hong Kong film delegation poses for a group photo during the 2026 China Golden Rooster and Hundred Flowers Film Festival in Xiamen, Fujian province, Nov. 9, 2026. [Photo courtesy of CCIDA]

The seven films, all supported by the Film Development Fund, demonstrated remarkable diversity in genre and storytelling. The lineup included Fung Chih-chiang's "Wakesurf Lovers," Tam Wai-ching's "Someone Like Me," Keane Wong's "Afterpiece," Wong Hoi and Norris Wong's "Good Trip," Yeung Leung-chuen's "We Are Born Good," Isabella Lam's "Dead End," and Wu Chui-yi's "Bird of Paradise." Several directors and cast members also attended post-screening Q&A sessions, interacting with audience members.

Cindy Chan, head of film production at Hong Kong's Cultural and Creative Industries Development Agency (CCIDA), told China.org.cn in an exclusive interview that the agency had been bringing Hong Kong teams to the Golden Rooster festival for several years. She noted that the seven films were backed through three different schemes under the Hong Kong Film Development Fund: the First Feature Film Initiative, the Directors' Succession Scheme and the Film Production Financing Scheme.

According to Chan, these programs are designed to support filmmakers at different stages of their careers. The First Feature Film Initiative aims to nurture emerging directors by supporting them in completing their debut feature films and bringing them to cinema audiences. The Directors' Succession Scheme pairs emerging directors with experienced filmmakers who serve as producers, while the financing scheme helps more experienced directors raise funds, with the government providing up to 40% and the remainder coming from private investment.

Chan said viewing habits have changed and cinemas need more encouragement to bring audiences back. She also shared that audiences were less receptive to repeat visits to watch familiar genres, and that Hong Kong films are not limited to crime thrillers and action films. "These seven films really show Hong Kong's new strength, with genuinely different subjects," she said.

Chan emphasized that participating in a national-level event like the Golden Rooster festival provides these emerging teams with invaluable exposure, allowing them to exchange ideas with peers and take part in screenings and industry events. Beyond this, the CCIDA is actively facilitating market expansion through the Film Financing Scheme for Mainland Market, she said, noting that the films are already in discussion regarding distribution and cooperation opportunities on the Chinese mainland.

Beyond funding, Chan said the First Feature Film Initiative functions as a learning process, with filmmakers submitting outlines and other preparatory materials, whilst also working with veteran producers on budgeting and preparation. She added that CCIDA also runs other programs, including a scriptwriting apprenticeship scheme and special training courses for action performers and actors.

Addressing challenges in the global film industry, Chan noted that CCIDA has launched new initiatives, including the Content Development Scheme for Streaming Platforms, and training programs and workshops for industry professionals so they are better prepared when new opportunities arise.

Chan also weighed in on opportunities and challenges posed by short dramas and artificial intelligence. She noted that CCIDA's funding of the AI Academy at the Hong Kong International Film and TV Market (FILMART) in March 2026 underscores the industry's growing grasp of AI's potential, adding that the agency is closely watching the short drama trend to learn from successful and unsuccessful examples.

The Hong Kong filmmakers also took part in official festival events in Xiamen, such as the "Chinese-language Film Night." Chan expressed hope that the festival would help introduce more Hong Kong films to mainland audiences and open up opportunities for co-productions.