Pang Brothers have been known for their grubby thrillers, but, Re-Cycle, their latest creation currently on screen is a departure from their successful series of The Eye.

 

 

For Pang Brothers, recapitalizing the proven formula have never been their purpose. In Re-Cycle, Pang Brothers' quest for innovations does not stop at their generous application of CG effects; the duo consciously introduces motifs atypical of the genre: oblivion, abandonment, environmentalism, and abortion are some of the director duo's concerns.

 

Re-Cycle is publicized as the first Hong Kong ghost-thriller ever presented at the Cannes Film Festival, nevertheless, Pangs Brothers are reserved in speculating on the film's reception as they are not sure whether the viewing public would endorse their stylistic turn.

 

According to Pangs, the negotiation of the rights of Re-Cycle has been settled with a profitable agreement with many oversea companies before the film's home launch, meaning that financial loss is no longer a question. This further backs up their resolution not to make any more horror-thriller with ghostly themes in the next two years. It is their wish to try on different genres with a more varied choices of themes, for instance the Pangs would like to make a gangster film with elements of a psychological thriller.

 

Their first Hollywood production, The Messengers, would open with a murder that takes place in a rural village, with the narrative unfolding the terrible event befalling a family. The film is now in the post-production phrase and is expected to launch early next year. Meanwhile, the brothers will also go their "separate" ways, directing Diary and Forest of Death respectively for Universe Film Productions. Such separation, however, is a tried practice for the duo, previous productions of Universe Film Productions, Leave Me Alone and Ab-normal Beauty were also directed individually by the two Pangs.

 

Horror-thrillers by Pangs Brothers have been keenly applauded by cinema-goers, and yet the Pangs are not optimistic about the local cinema in general terms. They both are disheartened, addressing the local audiences' bias against local productions: the audiences go to the cinema only for stargazing, and some would even make very harsh criticisms without seeing the films in the first place. Pangs frankly put that they are not solely making films for the Hong Kong audience, nor they are making films tailored for overseas distributors. They make films about what interests themselves. Not in the least indulgent artists, the duo concerns a lot with the risks film company investors bear, they would work out a budget plan with their superior, and evaluate box-office sales and incomes ahead. If they are to make less-commercial films like Diary and Forest of Death? They would secure the company's investment with a more calculated one such as Re-Cycle.

 

(hkfilmart July 13, 2006)