Ming-kai Leung
LEUNG Ming-kai is a cinematographer and director from Hong Kong. He holds a master’s degree from Columbia University, New York. He attended Asian Film Academy organised by Busan International Film Festival, where he won the Best Performance Award as a cinematographer. Leung has directed several short films. His Three Boys (2007) received an award at the Hong Kong Independent Film and Video Awards and represented the Philippines in competition at Clermont-Ferrand Short Film Festival. Lock (2007), was an official selection of Tribeca Film Festival, and stars Kate Reilly, with whom he directed the feature Memories to Choke On, Drinks to Wash Them Down (2019).
Filmography
Lock (2007, short), Three Boys (2007, short), On One (2011, short), Sylvia (2017, short, co-dir), Memories to Choke On, Drinks to Wash Them Down/Ye heung, yuen yeung, sham shui po (2019, co-dir)
Ming-kai Leung at IFFR
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In April the Following Year, There Was a Fire
A poetic title, almost a film description, that demands some close reading. Just like the film, which – as a visual poem – doesn’
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By the Time It Gets Dark
Powerful second feature by Anocha Suwichakornpong, who won a Tiger in 2010 with Mundane History, starts with the Thammasat University massacre of 1
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Krabi, 2562
Prehistoric cave-dwellers, a retired boxer and a commercials actor populate a Thais coastal town threatened by mass tourism.
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Memories to Choke On, Drinks to Wash Them Down
Four stories show how fiction and fact, humour and drama, personal and political are complementary facets of the contradictory realities that const
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By the Time It Gets Dark
Powerful second feature by Anocha Suwichakornpong, who won a Tiger in 2010 with Mundane History, starts with the Thammasat University massacre of 1
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Thursday
A visual dialogue between two filmmakers. One from Bangkok; one from Sarajevo. Wordless impressions from old Europe and changing Asia. An image dia
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In April the Following Year, There Was a Fire
A poetic title, almost a film description, that demands some close reading. Just like the film, which – as a visual poem – doesn’t imme
