官方電影資料 Official Film Information

最近公影電影 Recent, Current, and Upcoming Films


開畫日期 Release Date
片長（分鐘） Running Time (Min.)
級別 Category
官方網站 Official Web Site
上映戲院 Cinema Line-Up
資料提供 Information Provided By

永遠的微笑
Lilya - 4 - Ever

十六歲的莉莉亞來自前蘇聯裡一個頹廢、骯髒的社區，無時無刻均對外面的世界嚮往不已。母親答應與男友於美國安頓後再予接應，然而音訊全無，芳蹤沓然。空空如也的信箱彷彿向莉莉亞披露了被遺棄的事實。原本身代母職的阿姨雀巢鳩佔，把莉莉亞迫遷至無電無暖氣的霉臭小房間，於絕望邊緣掙扎過活。無可奈何之下，莉莉亞開展了她的皮肉生涯。

從前的一群酒肉朋友逐漸疏遠，莉莉亞身旁只剩下無家可歸，11歲的華路查，他不時在莉莉亞家的沙發上過夜。二人無所事事，處處流連，冀望好運一天降臨......

導演：
路卡斯麥迪遜(Lukas Moodysson)

演員：
奧莎娜亞金希娜(Oksana Akinshina) 飾演莉莉亞
亞提當巴度查基(Artiom Bogucharskij) 飾演華路查

導演的話：

電影原本的題旨是"上帝的愛"，但那給現實狠狠的蓋過了，變成另外一樣東西。它變成了一部關於兩個小孩，莉莉亞與華路查的電影。他們居住的地方曾幾何時屬於偉大的前蘇聯，惜現在變成了一片頹垣敗瓦。電影同時關於"到遠方去" 的強烈渴望，決心放棄一切，也被一切放棄的感覺。還有富者妄想以金錢購到一切，貧困者則盡全力賣掉良心以外的一切等。至於我家附近或者地球另一端的事情：吸天拿水、籃球、Britney Spears、在長椅上刻上名字以證實自己的存在等也包括在電影裡面了。被人追打、選擇放棄、選擇了斷，以及一段永恆的友情，一燦永遠不滅的燭光也是這部電影要描述的。或者它亦跟"上帝的愛"有些關係---只不過上帝從未回覆過莉莉亞的禱告而已。

※　※　※　※　※　※　※　※　※　※

導演簡介
路卡斯麥迪遜(Lukas Moodysson)，1969年於瑞典南部出生。在接觸電影之前，路卡斯便曾於十七歲時推出過數本詩集，其後亦斷續推出過幾本小說。他在Dramatiska Institutes畢業，在學期間開始嘗試短片創作，及後投身Memfis Film。短片<Talk>以後，路卡斯於1998年完成了首部劇情長片<Fucking Amal>(別名 <Show Me Love>)。除了得到觀眾與影評人的認同以外，連著名導演英瑪褒曼（Ingmar Bergman)都對這位後輩擊節讚賞，使路卡斯成為瑞典新一代的影壇希望。而<Fucking Amal>亦於世界多個地方獲獎，包括四個本土獎項，以及由European Film Academy頒發的"最佳歐洲電影"。而路卡斯隨後的第二部電影<Together>成績更斐然----2000年威尼斯電影節首映以後，於世界各地均獲得不俗的票房以及評價，使路卡斯不論在藝術上及商業上的成就都更上一層樓。不少英美報章均把<Together>列入"年度電影"欄中，可見他的影響力已不止限於歐洲一帶。2000年路卡斯亦參與了得獎電視作品<The new Country>的編劇工作。<永遠的微笑>是他第三部劇情片。

演員簡介
奧莎娜亞金希娜(Oksana Akinshina)飾演莉莉亞
奧莎娜於1987年在聖彼得堡出生，現就讀中學。奧莎娜曾參演俄國2001年大熱之作<Sisters>。該片入選威尼斯電影節，更於多個不同國家上映。2001年，她亦於電影<The Movement>以及電視片集<Happy New year>中亮相。奧莎娜十分喜愛和路卡斯合作，唯有感莉莉亞的角色並非如想像般難以掌握 :「路卡斯在整個拍攝過程中對我幫助很大，我們常常一起去解決問題。

亞提當巴度查基(Artiom Bogucharskij)飾演華路查
亞提當1989年於莫斯科出生，於音樂學院就讀，除了參與合唱團以外，亞提當還精通單簧管和鋼琴等樂器，過去幾年亦曾於俄國戲劇學院就讀，並與其姐一起效力於民族舞團 "The Red Star"。<永遠的微笑>是亞提當的首部電影，然而現時亞提當已經在好些電視連續劇中擔剛演出。亞提當表示他喜歡電影拍攝現場，導演以及所有工作人員，卻對當地的嚴寒天氣、污穢、潮濕等環境敬而遠之，他認為路卡斯 :「有一種俄國人獨有的幽默感。」

愛蓮娜班納遜(Elina Benenson)飾演娜塔莎
愛蓮娜1986年於塔林出生，現於中學就讀。課餘喜愛繪畫以及研究語言等，亦即極參與校內戲劇活動。

柏科柏路馬力(Pavel Ponomarev)飾演安德烈
柏科1980年於聖彼德堡出生，一年後舉家移民到愛沙尼亞。自1998年起柏科於塔林的Georg Ot's Music School攻讀流行與爵士聲樂，曾參與舞台劇<孤星血淚>以及<西貢小姐>的演出，並自組樂隊"Wild Cut"。

露寶芙亞加普華(Ljubov Agapova)飾演莉莉亞的母親
露寶芙1956年於蘇聯出生，1977年在Far-East Institute of Art畢業，1987年投身塔林的蘇聯劇團。

莉莉亞辛加莉華(Lilia Shinkareva)飾安娜阿姨
生於1948年，莉莉亞於海參崴藝術學院畢業。她與塔林的蘇聯劇團自1971年起開始合作。

湯馬士萊曼(Tomas Neumann)飾演維德
1951年生，1974年於華沙的國家演藝學院畢業，1974-75年效力華沙的Rozmaitosci Theatre之時亦同時參與多部電影的演出。1975年湯馬士移居瑞典教授戲劇。現除負責自己開設的斯德哥爾摩戲劇學院之事務以外，亦於Juri Lederman的戲劇工作室擔任演員。

導演訪問
瑞典最受推崇的年輕導演，路卡斯麥迪遜，曾拍攝兩部長片:<Fucking Amal>以及<Together>。無瑕的在藝術與商業間取得平衡，而觀眾與影評的迴響也甚佳。甚至連英瑪褒曼（Ingmar Bergman）都形容他的首部長片為「年輕大師的首部鉅作。」然而以上種種並未令路卡斯固步自封。新作<永遠的微笑>帶領觀眾踏上另一段旅程---由70年代瑞典的社會與民生問題轉移至俄國國土上的殘酷實況。

「這個概念的成因很難肯定。」他說，「在<Together>以後，我想我的下一部電影應該更深入。好些時候你會忽然很清楚自己應怎做，是一種難以形容，突如其來的感覺，我知道自己在什麼時候有了這些想法，然而它蟄伏了多久我卻不敢肯定。」

「當我有了故事的概念後，我開始建構裡面的宇宙，它始於主角莉莉亞的個人悲劇，並且附帶着很多當下的社會問題，有了這些以後，我已感到影片逐漸成形了。」

在監製籌集影片所需的經費之際，路卡斯於四個月間替千多名孩子試鏡，最後找到了本片的兩位主角:飾演莉莉亞的奧莎娜亞金希娜，以及飾演華路查的亞提當巴度查基。

「我以前曾經到這些地方旅行，但當初我並未想過要找一個沒有名字的地方作為背景，我只知道那需要是一個沒落了的皇國。」

「但我不想把那種頹廢歸咎於任何一個國家。就算故事的中心點是人物，他們身處的社會也是一個重要因素。此片的背景可以是墨西哥，因為它是關於在貧富懸殊的情況下，窮人怎樣遭到剝削的。」

「對於很多女孩子像莉莉亞般夢想出走，我絲毫不感到意外。比方說，在歐洲最貧窮的國家Moldavia，我肯定超過九成的年青人都不相信自己國家的未來，而且有一個近乎災難性的數據顯示，那裡有很多婦女都曾從事性交易。但這不可以盡說是Moldavia的錯。你選擇拍攝怎樣的電影其實是一件很政治化的事情，你要想，你在替誰說話?」

在以前的電影中，角色與對白均是最突出的元素之一，然而在<永遠的微笑>中，路卡斯竟以全俄語拍攝!

「要不斷向自己挑戰，就像足球一樣，與冠軍隊作賽會把你自己也帶上最佳狀態。」然而怎樣與跟你不同國籍的演員溝通?「我以很嚴謹的方法選擇演員，當定下了演員後，我對他們投以百份百的信任，反之，他們亦一樣。如是者大家便可以在很舒服的環境下工作。小演員們有肯試肯做的膽色，沒有多餘的忌諱。由那兒開始就是直覺了，我沒有怎樣"導"他們，但當然我在拍攝期間會操縱所有東西，但我會不停的改，當你開始看著看著，就會知道那段戲應怎樣。我們當然有翻譯員，而曾參與<Fucking Amal>的Alexandra Dahlstrom正是其中一位。對於我來說，有認識的人在旁是非常重要的，是以我通常會用上相同的攝影以及監製。」

在<Together>得到空前成功以後，路卡斯得到不少美國片商垂青，但為何遲遲還未見到路卡斯"放洋"的成品呢?

「說真的，我沒有到荷里活去的決心，但那並不表示我不會有一天在美國拍片，那裡有很多有待發掘的題材。但可悲的是，全球最大的電影供應點只在乎金錢，而非電影本身。他們以為全世界的電影人均視那裡為終點，其實不然。如要我到那兒去的話，我需要我的製作班底同行。但在美國，基於工會的限制，我不能與大夥兒一同工作，作為一個歐洲電影工作者，那絕對是讓我卻步的原因之一。

總觀路卡斯的三部電影，明顯地有些重複出現的元素。如年青人便永遠是電影的第一觀點，似乎導演比較喜歡透過他們去看世界:「每一個人曾幾何時都是孩子，每一個人都曾經以孩子的視點來看世界，他們的力量最為低微，是最沒有可能反抗的一群。我在他們的身上找到認同感。好些在我以前電影中的意象都在這被重複運用。我不會分開自己的幾部電影，而是把他們串連一起，視為一個過程，由一部片前行至另一部片。好些問題，用一部片是說不完的。所以我的幾部電影均重複地出現了像"橋"一類的意象。而"橋"對於我來說正有一種難以言喻的吸引力，我甚至肯定我下一部電影都會有"橋"的出現。」

音樂，在路卡斯的電影中亦扮演著很重要的角色「好些時候，我的剪接師跟我一起聽很多音樂，而奇怪的是有些東西很自然地產生了化學作用，我不時發現，好些場口竟跟我所選用的配樂長度一樣!每一首我選用的配樂都告訴我們關於這個時代的一些事情，我很喜歡加入配樂後使整場戲升華的那種感覺。但肯定使用甚麼配樂是一件很危險的事，因為隨後所有東西都會單純地為配樂而生。在本片中我選用了不少拍攝地點流行的東西，如在Rammstein街道的牆上，你會見到樂隊"Prodigy"的名字。這些音樂代表了一種年輕的能量，一種在當地醞釀的，毀滅性的能量。」

另外一個於電影中舉足輕重的意象是"天使與小孩"。「他們正是啟發這部電影的兩個主要元素。我經常在想:地獄裡的人到底有沒有希望?這是其中一個我想透過電影來探討的問題。我認為在我們之上必然有誰在觀察著。這可能對我們幫助不大，但是我們以須要靠希望才能生存下去呀。」

※　※　※　※　※　※　※　※　※　※

發行：		Golden Scene Company Limited
上映日期：		2004年1月22日
院線：		影藝
級別：		III
片長：		110分鐘
網址：		http://www.goldenscene.com

LILYA 4-EVER - A FILM BY LUKAS MOODYSSON

THE 59 MOSTRA INTERNAZIONALE D’ARTE CINEMATOGRAFICA DI VENEZIA

SYNOPSIS

16 year-old Lilya lives in a poor and dreary suburb somewhere in the former Soviet Union. She dreams of a better life. Her mother has moved to the States with a new man and Lilya is waiting to be sent for. When no letters or money arrive from her mother, it becomes obvious that Lilya has been abandoned. She's forced to move into a tiny, run-down flat with no electricity or heating. Heartbroken and without money, Lilya's situation becomes desperate. Her only friend is the 11 year-old boy Volodya, who sometimes is allowed to sleep on her sofa. They hang around together and fantasize to make life a little easier. One day, hope arrives when Lilya falls in love with Andrei. He asks her to follow him to Sweden to start a new life. Little Volodya is jealous and suspicious - but Lilya packs her things. Suddenly she’s sitting on a plane bound for Sweden not knowing what will happen next.

DIRECTOR’S COMMENT

It was meant to be a film about God's benevolence, but reality reared its head and it became something else. It turned into a film about two children, Lilya and Volodya, who live in a country that was once part of the mighty Soviet empire and which now lies in ruins. It turned into a film about the longing to be elsewhere, about leaving everything behind, about being left behind alone, about rich people who think everything can be bought, about poor people who are forced to sell everything they have (beside their heart), about things that happen far away and things that happen on the street where I live, about cough syrup and glue, about basketball, about Britney Spears, about carving your name into a bench so that everyone can see you exist, about being spat at, about giving up, about death, about a friendship that never ends, about a candle that never burns out. And perhaps it's a little bit about God's benevolence as well - despite the fact that he never answers when Lilya prays to Him.

LUKAS MOODYSSON

BIOGRAPHY

Lukas Moodysson was born in 1969 in the south of Sweden. Long before trying his hand at filmmaking he published a collection of poetry when he was just 17, which was followed by several books of poetry and a novel. He graduated from Dramatiska Institutet, where he made a number of short films, before he started working with Memfis Film. The short film Talk was followed in 1998 by his feature debut Fucking Amal (also known as Show me love). A major hit with audiences and critics alike and praised by filmmaking legend Ingmar Bergman - Moodysson was soon considered the great new hope of the Swedish film industry. Fucking Amal went on to worldwide distribution and picked up several awards and nominations, including four Swedish Film Awards and a nomination as Best European Film of the Year by the European Film Academy.

Lukas Moodysson's next film, Together (Tillsammans), more than lived up to his debut and became an even bigger hit. It premiered at the Venice Film Festival in 2000, and was a bona-fide box-office hit across the world. It established Moodysson on the international filmmaking scene, both commercially and artistically. Together was featured on several major US and UK newspapers' "film-of-the-year" lists in 2001.

In 2000 Lukas Moodysson was also co-writer of the award-winning Swedish Tvseries The New Country, (directed by Geir Hansteen-Jorgensen). Lukas Moodysson lives in Malmo with his wife and two sons. Lilya 4-ever is his third feature film.

FILMOGRAPHY

Showdown in the Underworld (short) 1995
Talk (short) 1997
Fucking Amal (aka Show me love) 1998
The New Country (co-writer) 2000
Together 2000
Lilya 4-ever 2002

INTERVIEW:

LUKAS MOODYSSON

Sweden's highly respected and influential young filmmaker, Lukas Moodysson, has in his two films, Fucking Amal and Together,

breached the difficult gap between art and commerce. He has been embraced by audiences and critics across the world, and Sweden's filmmaking legend Ingmar Bergman labelled his debut "A young master's first masterpiece". This has, however, not

kept Moodysson from pushing himself ever since. He takes his audience on a completely different voyage in Lilya 4-ever - away from the political and personal problems of 70s Sweden to the harsh reality of the former Soviet Union in the present.

"It is very hard to say exactly when or how the idea came to me," he says. "After Together I just knew I wanted to go deeper in my next film. The moments in your life, when you get these absolutely clear ideas, are very hard to describe. I know when it

happened, I know what kind of music I was listening to, but I'll keep that to myself. However, I don't know if it had been stored in my mind for a long time before then."

Lilya is a 16 year-old girl living in an unnamed city in the former Soviet Union, and like many of her peers (and the girls in Fucking Amal), her greatest dream is to get away from there. Her mother finds a man, who promises to take them to the US, but once there the mother never sends for her daughter and Lilya is left to take care of herself and her only friend, the younger boy Volodya.

"Once I had the idea for the story, I knew the whole universe in it. It encompassed the personal tragedy - Lilya's - and a bygger political reality. Then it felt like the film was already there. I did some research, but the story really came to me quite finished."

While producer Lars Jonsson began to finance the $3m drama, Moodysson went through extensive casting, and saw close

to 1000 children for the two main parts in the film. Over a period of 4 months, the crew visited Moscow, St. Petersburg and

Tallinn, before finally deciding on Russians Oksana Akinshina (Lilya) and Artiom Bogucharskij (Volodya).

"I had travelled very little in those countries before, and initially I hadn't decided that the place would be unnamed, but I knew it had to be a raped society - a collapsed empire."

A run-down housing complex, where the main characters Lilya and Volodya lives, was found outside Tallinn (Estonia) in the Russian-speaking district Paldiski, close to an abandoned ex-Soviet submarine base. "That place used to be a centre of power, but today it is empty," says Moodysson.

"However, I didn't want anyone to say that one specific country was to blame for that situation. Though the story centres on the characters, the society around them is very important too. It could have taken place in Mexico, because it is about the major gap between the rich and the poor people as well as countries and how simple it is for wealthy nations to exploit poor ones".

"We live in a culture, where you can buy anything. You can buy people, their labour or their intestines - a kidney from India or Turkey - TV-shows like Ricki Lake is also a trade of lives. My film is about that world. I'm not blaming the poor countries, but the rich ones who exploit them. In today's globalized world Swedish companies can move their factories to poorer countries, and pay close to nothing for the labour. This causes even further desperation for those, who don't have anything".

"It is not surprising that so many (like Lilya) dream of getting away from there. In Moldavia for example, the poorest country in Europe, I believe some 99% of the young people there don't believe in a future in their own country. They all want to leave. They also have a catastrophic high percentage of the women, who have sold sex. That is the terrible reality, and not the fault of Moldavia. Both communistic and a capitalistig rape. What you make film about is a political choice, so in that sense my film is a political statement."

Plot, characters and dialogue are the key in Lukas Moodysson's films. He is a writer directing his own stories, and in Fucking

Amal and Together his realistic and sharp dialogue has been a standout. But in Lilya 4-ever, all the dialogue is in Russian!

"You have to challenge yourself - it is like football. You play better if your opponent is the champion." But how does he handle working with actors, he doesn't share a language with? "You are very careful in your casting and choose very good actors. Once

I have them, I must have great faith in them, and they in me. From then on it is very basic. You build a relaxed and comfortable atmosphere for the whole shoot, not just for the kids. It means they dare to make mistakes and try things, without the restrain of nerves. It is essential. From then on I guess it is intuition, and I think I direct less than people might think. Of course I control

everything, but I don't go changing small details all the time. When you listen, you know if it is right or not. I had interpreters as well, and one of them was Alexandra Dahlstrom (the young actress playing Elin in Fucking Amal). It is very important to me, that I have people I know around me, and that is why I use the same cinematographer and assistant director, as well as editor and producer."

Producer Lars Jonsson has produced all of Moodysson's films, and has become so important to him, that he can't envision making a film without him. "There are people you are lucky enough to meet, who you then allow to have very big influence on your life. Once you do that, it can be really hard, because then you have to trust their opinion even if they are contrary to your own. Lars is one of the few I trust to that extent. We spar well together. He gives me total control, which means he can be that much harder in criticism. That is fantastic, it gives me absolute freedom, but at the same time I have his honesty, which is also very important to me. He gives me a lot of creative input."

It is no secret that Moodysson after the success of Together has been offered a number of projects in the US, but so far he hasn't

accepted. "I never had an ambition of moving there, but that doesn't mean I wouldn't at one point make a film in the US. There're plenty of very interesting topics to deal with there. I would like to make a film in English, but the offers haven't been interesting. Since I love film, it is tragic the biggest filmmaking country in the world doesn't deal in film anymore, but only money.

They see themselves as the centre of the world, but that isn't so. They have this misconception that all filmmakers have a dream of coming to Hollywood, as if that was a goal in itself. It is very arrogant. However, if I did go there, I would need to keep my key people around me. I'm all for unions, but if working in the US meant I can't use them, as a European filmmaker I might be unwilling to work there."

Looking back at Moodysson's now three feature films, it becomes obvious, that certain elements are repeated throughout. Teenagers are always the focal point, as the director seems to prefer to see the world through their eyes. "I believe that you are who you used to be. Everyone has been a child and had a child's view of the world. They are the least powerful, the lowest in the hierarchy, and I can identify with them and their perspective. There are elements from my previous films, which are repeated or continued in this one. I don't really see the films as separate, but part of a process since I write them and develop along with them. One film blends into the next, as there are issues you can't finish in just one film." Places and situations are recurring,

like a bridge over a freeway in Lilya 4-ever which was also in a key scene in Fucking Amal. "Yes, the bridge has a certain meaning to me, but it is hard to explain why. I know, however, it will come back in my next film. There are several aspects to it, but one is no doubt that I grew up close to one. At night we would sneak out and meet on it."

Music is another element, which has always played a central part in Lukas Moodysson's films. "It is hard to say why something works. My editor and I listen to a lot of music, and some things just work. It is almost metaphysical, you can experience that a scene turns out to be exactly the length of the track that you later find fits it perfectly. All the music I choose tells us something about our time. Also the physical space these people live in - even the classical music, which carries the feelings and the humanity in the scenes. It fascinates me how music can lift everything to a higher level - a universal level. Though I am so extremely fond of music, it is dangerous to have a clear-cut idea of which music you want in a particular scene, because everything else then will seem like a compromise. For this film I was inspired by the music that was popular in the places, where we shot it. Rammstein were one of those. You would see graffiti with their name and bands like Prodigy. It says something about the kind of energy, power and destructiveness you might find there - for both good and bad."

A picture of an angel and a child also plays a central part in Lilya 4-ever. "Yes, it is hard to talk about, but it is really one of the key issues in the film. If there was one thing that got me started on this film that would be it. I have this recurring thought that haunts me, when I can't sleep. It is about all the people in the world, who are being tortured. So I can't help asking the concrete question, whether there is any hope for people living in hell. It isn't a theoretical question to me, but an existential one. That is what I try to explain in the film. I believe it is so. There is someone watching over us. That might not help us, but the hope is all we have. To survive in this world, we need it." Though highly eloquent in both writing, reality and on celluloid, Moodysson, who also published several collections of poetry and a novel, strongly believes that his films as art speak for themselves. "When I have made a film it expresses exactly what I think and believe, there's nothing else. There are no slogans, posters or interviews which can express that better. Everything else is a compromise as opposed to the film - the work of art - so it is really frustrating to have journalists asking me: 'what is your film about?'"

Jacob Neiiendam, Screen International

ACTORS' BIOGRAPHIES

OKSANA AKINSHINA as Lilya

Oksana was born in St Petersburg in 1987. She is studying at high school. Oksana played the lead role in Sisters (directed by Sergei Bodrov Jr), which was a great success in Russian cinemas in 2001. The film was selected for the Venice Film Festival and was distributed in a number of countries. In 2001 she also worked on the film In Movement as well as the TV series, Happy New Year. Oksana enjoyed working with Lukas even if she felt that Lilya's character was sometimes hard to play. "Lukas helped and gave advice and together we found solutions to the problems".

ARTIOM BOGUCHARSKIJ as Volodya

Artiom was born in Moscow in 1989. He is currently at music school and besides being a chorister he plays several instruments such as the clarinet and the piano. For the past few years he has also been studying with the Russian Theatre Academy's school. Together with his sister he dances in the folk dance group, "The Red Star". Lilya 4-ever is Artiom's first film role, but the work has given him a taste for more. Artiom is currently playing a larger role in a Russian TV series. Artiom says he really liked the studio at Trollhattan, Lukas Moodysson as a director, and everyone in the crew. On the other hand, he didn't appreciate the cold, dirt, damp and the freezing clothes. He says about Lukas, "He has the same humour as a Russian".

PAVEL PONOMAREV as Andrei

Pavel was born in St Petersburg in 1980. A year later the family moved to Estonia. He's studying pop and jazz singing since 1998 at Georg Ot's Music School in Tallinn. He has participated in Les Misérables and Miss Saigon. Pavel is also the singer and guitarist with the rockabilly group, "Wild Cut".

ELINA BENENSON as Natasha

Elina was born in Tallinn in 1986. She is currently at high school in Tallinn and holds drawing/painting and languages among her interests. Elina is with the school theatre.

LJUBOV AGAPOVA as Lilya's mother

Ljubov was born in Russia in 1956. She finishen her studies at the Far-East Institute of Art in 1977. She has been working with the Russian Theatre in Tallinn since 1987.

LILIA SHINKAREVA as Aunt Anna

Born in 1948. Liliya graduated from the Art Institute in Vladivostok. She has been working with the Russian Theatre in Tallinn since 1971.

TOMAS NEUMANN as Witek

Born in 1951. Graduated from the State Acting Academy in Warsaw in 1974. He worked as an actor at the Rozmaitosci Theatre in Warsaw from 1974 - 1975 as well as appearing in a number of film productions. Tomas emigrated to Sweden in 1975 where he primariely works as a drama teacher. He currently runs his own school - Stockholm's Elementary Theatre School. Tomas has also worked as an actor at Juri Lederman's Theatre Studio.

Links to third party sites: The links in this site will let you leave Hong Kong Films' Web. The linked sites are not under our control and we are not responsible for the contents of any linked site, or any link contained in a linked site, or any changes or updates to such sites. The inclusion of any link does not imply endorsement by us, nor does it imply our site is endorsed by the linked site.