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The Hong Kong censors last month demanded five cuts to a male rape scene in Hong Kong director Scud’s new film Amphetamine if to be shown at cinemas after its Asian premiere at the HKIFF. Fridae.com’s HK correspondent, Nigel Collett reviews the Festival’s four gay films and has more about what the censors object to. (You’ll be surprised.)

The appearance of the Hong Kong International Film Festival (HKIFF)’s programme is always greeted with interest by the LGBT community. The Festival has never been shy of showing films which are edgy or avant garde and has often included queer films in its lists. I should point out straightaway here that Hong Kong has four general film festivals (the HKIFF, the Hong Kong Independent Short Film & Video Awards, the Hong Kong Asian Independent Film Festival and the Hong Kong Lesbian and Gay Film Festival) as well as a host of more specific festivals (like the French, the Israeli and the like). The HKIFF is the biggest. This year is the 34th HKIFF, with a schedule running from 19 March to 6 April in many cinemas around the city (with some films running on into extra time as far as May), and the organisers chose to show four gay films. One of them has caused a storm.

Chinese director Lou Ye’s Spring Fever (above) won Best Screenplay recently at Cannes, in part for the passionate sex scenes the film contains. These are steamy! Shot with a rather jerky hand-held camera, this is a gay love triangle set in the gradually opening society of modern China. Lou is no stranger to controversy. His 2006 film Summer Palace, a straight love affair set against the background of the Tiananmen Square protests of 1989 and their suppression on 4 June of that year, brought him a five year ban from the Chinese censor.

The Hong Kong censor has less power, but has nevertheless the means to prevent or mar the showing of a film, which is what has happened to the fourth of the gay films shown this year at the Festival, Hong Kong director Scud’s Amphetamine. The film was runner up for a Teddy in Berlin and is here in its Asian premiere, chosen by the Festival as the closing film on 6 April. Tickets for this sold out completely. More rapidly once it was known that this would be the only complete showing of the film allowed in Hong Kong.

Screenshots from Amphetamine

The Hong Kong censor (the Television and Licensing Authority – TELA) classified the film as III (for those over 18 only) for the Festival. All seemed well, and the film was due to open in commercial cinemas on the 8th, but for this it needed another license, and inexplicably this time the TELA demanded five cuts, each of five to six seconds, in the crucial scene, a male rape. The story of the film centres around the addictions in love and drugs of its fallen angel, swimming instructor Kafka (played by the very cute Byron Pang), a straight man who finds himself in a love affair with a gay executive, Daniel (the more classically handsome Thomas Price). The film is a dark meditation on love and its bonds, on death, betrayal and the loss of innocence, and, without giving too much of the story away, the scene in which Kafka is raped forms the crux of much of what happens thereafter.

Scud’s film company, Artwalker, has appealed the ruling, but in the meantime Scud was faced with the choice of withdrawing the film or showing a damaged version. He has chosen to do the latter in the hope that the five black spaces he will leave in it will arouse sufficient attention that the TELA will be persuaded to change its mind. This it may very well do, as public indignation has already begun to grow in Hong Kong. Articles ridiculing the censorship have appeared in the popular Chinese press (Apple Daily and Mingpao) and a Facebook group has been formed to fight the case (check it out on Facebook).

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