In Limbo: The Films of Clara Law

Though not so well known abroad as Wong Kar-wai, Stanley Kwan, or Fruit Chan, other prominent members of the Second New Wave of artistically ambitious films that hit Hong Kong cinema starting in the mid-1980s, Clara Law’s dramas of “displacement, self-reflection, and diaspora” [Dazed] are every bit as vital and formally daring as those of her approximate contemporaries—and now, on the occasion of new restorations of four of Law’s key works, Metrograph audiences will have a fresh occasion to become acquainted (or reacquainted) with the work of a filmmaker whose peripatetic life has taken her between Macau, Hong Kong, New York, London, and Melbourne, where she has lived with collaborator and husband Eddie Fong since 1994. Unforgettable tales of exile and rediscovery, appropriately diverse in their stylistic toolkits and approaches to narrative.