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CEPA III opened the door wide for HK-mainland co-produced films, although many of the productions made under its wing did not, or could not, adhere to even these relaxed rules.

 

Pre-CEPA III, the ration of HK to mainland crews was at 50:50, but now it's been reduced to 30:70. CEPA III stopped Hong Kong films from being treated as "foreign films", and even allowed the original Cantonese versions to play in the Guangdong Province. CEPA III also brought a change to the rule that the story must take place in China. Up until now, the ration of 1/3rd mainland for the leading role was not strictly enforced, and many co-productions employed only a few mainland actors, placing them in supporting roles.

 

The State Administration of Radio, Film and Television (SARFT) is now, however, strictly enforcing the rules of CEPA III.

 

Patrick Tong, Managing Director of Mei Ah films said, "This will affect a lot of co-productions especially for low budget films, that is, budget below HK$10 million. If the film is not qualified as a co-production, the film's producer will not be able to recoup 1/4 to 1/3 of their production cost from China. However, the affect to films about history, kung-fu and big budgeted films will be minimal. Because of the recent changes, many film producers have reduced their productions because of the loss of revenue."

 

He added, "The tightening up of the co-production policies may not be necessarily bad for the Hong Kong film industry. Because of the Chinese market, many co-productions have adapted their stories and employed some unknown artistes from China in order to qualify as a co-production. This adaptation has always spoiled the film and neither the Hong Kong audience nor the Chinese audience like the story. As a result, the quality of many co-productions is not good."

 

With the delineation between HK and Mainland films becoming increasingly blurred in recent years, only time can tell what effect these changes will have on the local and international growth of homegrown films.

 

Mr Tong ended by saying, "I think this is another good opportunity for Hong Kong film producers to think seriously.  They can produce a 100% Hong Kong film for a Hong Kong audience as well as for an international one, besides China."

 

(hkfilmart February 28, 2006)