Roger Garcia

At the end of summer, a group of friends bid farewell to their childhood with a final football match and embark on a daring escapade, each about to embark on a different path in life.

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A young man, Jian, travels from Hong Kong to Liuzhou in China to visit his aging father who runs a spicy noodles shop with his caregiver and occasional noodle cook, Ah Ping. She fears that Jian will eventually take over the eatery but is unaware that he can only taste sweet, sour and bitter flavours but not hot spicy chili peppers, a crucial ingredient in his father’s signature dish. When Jian reconnects with his childhood friend, now a striking woman working at the local market, their passionate encounter reawakens his senses restoring his ability to taste hot peppers.

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Inspired by a true news account, this is the astounding story of a lone deranged hijacker who has struggled to survive in the chaos of modern Philippine society.

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Four highly trained martial artists are dispatched to protect a high-profile baseball player from hired kidnappers.

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HKNY was inspired by Italo Calvino’s novel Invisible Cities. Garcia draws on the concept of in-betweenness to construct a story of an individual (the filmmaker) reflecting on his position between Hong Kong, his birthplace, and New York, where he resides.

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The first Malaysian film to be selected for the Berlin Film Festival (in 1989) is an experimental feature about the custom among the native Iban community of Sarawak for young men to "bejalai" (go on a journey) before attaining maturity.

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Trying to approach the city – but constant rejection

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Ssecond film in two filmmakers’ view on Hong Kong shortly before the UK sold its former colony to China. First part was directed by Ingo Petzke.

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Director Roger Garcia drew inspiration from Close to Our Hearts, a script he wrote after returning to Hong Kong from the United Kingdom in 1977. Although the project never materialised because of a lack of funding and resources, Garcia adapted its elements—character lines, location shots, references to other films, portraits of a harpist—for this essay film, which traces a disintegrating relationship between a Chinese musician and his English wife, a photographer. Ruminating on the liminal space between text and image, Garcia seeks new ways of looking at a ceaselessly evolving city.

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