Weng Ziguang

Weng Ziguang

Philip Yung Chi Kwong, born in Huiyang, Guangdong Province on March 23, 1979, is a director, screenwriter and film critic in Hong Kong, China.

Since 1998, he has participated in the mid-term production of film and television, and worked as a film producer. He became a film critic in 2001. In 2005, he directed the documentary film "Lei Yu men" for the first time. In 2009, he directed the feature film "bright time" for the first time and was nominated as the best new director in the 29th Hong Kong Film Awards. In 2015, he won the best screenwriter award of the 35th Hong Kong Film Awards for his film "stepping on blood to seek plum blossom". At the same time, he won 9 nominations for the 52nd Taiwan Film Awards and 7 awards for the 35th Hong Kong Film Awards.

Early experience

He was born in Huiyang, Guangdong Province on March 23, 1979. After graduating from secondary school, I will study the film art course of the film art society and the production training course of the Hong Kong Film Directors Association. After the completion of the course, I will participate in the sound effect work in the later stage of the film.

Acting experience

Since 1998, he has been involved in the medium-term production of film and television, such as field recording, assistant director, assistant art, etc., and then turned to film production. He was executive producer of summer of seventeen and tracking the man in front of him, and producer of I'm a cat. In 2001, he served as the liaison director of the "film myth script and short film creation competition 2001 (China, Hong Kong and Taiwan)" of the film Myth Creation and development foundation. In 2005, he hosted film culture review programs "light and Shadow Trio" and "world cinema" for East Asia Satellite TV. In the same year, he directed the documentary film "carp gate".

In 2007, he planned documentaries "Song Wu Sheng Ping" and "abandoned syringe", and "abandoned syringe" won the most popular audience award of "Macao International Film and Video Exhibition 2008 - made in Macao"; in the same year, he was the judge of "Fresh Wave Short Film Competition" of Hong Kong International Film Festival.

In 2009, he was the judge of the international film critic of the Golden Horse Award, the "quality Chinese Film Award" and the "Chinese Media Award". In the same year, he wrote and directed his first feature film "bright time", which was invited to participate in the Hong Kong International Film Festival, Munich Film Festival, Rome Asian Film Festival and Beijing Chinese youth video forum. With this film, Weng Ziguang nominated the best new director of the Hong Kong Film Awards and won the annual recommended film award of the Hong Kong film criticism Association. In the same year, he supervised the production of the documentaries "gold rush" and "10-90 ladies", and "10-90 ladies" won the appraisal and recommendation award of Hong Kong Chinese Documentary Festival.

In 2010, he cooperated with architect Lin Weiyi to install the art work Chunyang street, which was exhibited in Venice Architecture Biennale and directed RTHK unit play Eden in the same year. In 2011, he directed the short film "demolition of Ngau Tau Kok lower village" for the Hong Kong Housing Authority, which won the international Galaxy Awards' honors award. In the same year, he wrote the screenplay "chasing plum in blood", which won the "HAF" award of Hong Kong Asian Film Investment Association. In 2013, he directed the film "little girl".

In 2014, he wrote and directed the film "stepping on blood to seek plum blossom", which won 9 nominations for the 52nd Taiwan Film Golden Horse Award and 7 awards for the 35th Hong Kong Film golden statue award. Weng Ziguang won the best screenwriter Award for this film at the 35th Hong Kong Film golden statue award.

In 2015, he directed the micro film "pen talks about love, paper talks about love". In November 2017, he directed the first co production "when the wind rises again", which tells the legend of "four detectives" in Hong Kong in the 1960s, starring Tony Leung and Paul Kwok.

In 2018, he adapted Hong Kong writer Zhuang Meiyan's stage play the murder of San Jose as a film of the same name and acted as a screenwriter. In August 2019, eggyolk man, a supervised online play, went online at iqiyi, which is its first time to dabble in online play.

In April 2021, director of the film "wilderness cafe" was shortlisted in the main competition unit of the 43rd Moscow International Film Festival.

Main works

Screenwriter's works

Supervised production

Directing works

social activities

Weng is a full member of the Hong Kong Film Critics Association and the Hong Kong Film Critics Association. In 2002, as the director of the Hong Kong Film Culture Centre, he continued to promote video and film culture. In 2003, he was the consultant of the film and television project of the youth self employment support scheme of the Hong Kong Labour Department.

Award winning record

Character evaluation

Weng Ziguang is gentle and introverted on the surface. Although he is not wild in the heart, he is not far away from ten. Weng Ziguang takes the spirit of independence to film. He uses more new people. His works have humanistic care. Weng Ziguang's appearance is gentle and elegant, without the heroic spirit of a filmmaker. His writing ability is better than that of shooting and directing. Weng Ziguang is deeply influenced by Xu Anhua. His works follow the style of depicting women in place and observing society through films. All three of his films take sex workers as the starting point to reflect on social problems through the fate of women. (review of Wen Wei Po)

Weng Ziguang refused to seek novelty and insisted that movies should also tell the truth. Weng Ziguang's works are marked by dark social themes, depressed characters' fate and cruel plots. (review of Metropolis Daily)

From the perspective of the film industry, Weng Ziguang has filled the gap of "mystery film" and added the "legitimacy" of "mystery film". It can go beyond the bloody curiosity and leave an important record for the social reality. (comments by Liu Weilin)