監製：Chung Ka Wai
Sho (Shouryu LEUNG), who was born a female, always has had a rather masculine personality ever since she could remember. She hated wearing skirts but loved playing robots and swordsmanship. As she was still too young back in the days, she did not ponder on her behaviours, thoughts, and sexuality. In the 80’s when she grew up, there were not many who talked about topics such as “sexual orientation” and “gender identity”, and her relationship with parents was rather estranged, that was why she could not find anyone to confide in. While recalling her puberty, Sho remembers the many awkward situations which she encountered – “My body was maturing back then, and I needed to wear female underwear which was a very unpleasant thing for me.”
After entering secondary school, Sho had begun wearing unisex clothing and had started to grow her interest in the opposite sex. Fortunately, people usually do not gaze oddly at female who put on unisex clothing in the modern society. However, deep down in Sho’s heart, she could not help but wonder “What is my real gender?”, “Am I a lesbian if I like girls?”. Yet, the answers never emerged at the time.
After treading through a period when she doubted her sexuality, Sho then jumped from being a secondary student to an undergraduate and acquainted with a group of friends who enthused about theatre, after which she began expanding her social circle. In 2013, she wrote a script about “gender identity” by which she gained a better understanding of herself and determined that she be a “He”. In the same year, she decided to make a momentous step in life - she visited a psychiatrist and had undergone a psychiatric assessment to seriously consider whether or not she would take a transsexual operation. “I did not know whether I would eventually complete the entire operation because there were so many things at stake, but I was sure that it was a significant experience for me to find myself.”
Since 2013, Sho has undergone psychiatric and psychological assessments, medication and surgeries. During those days, Sho worked as a Japanese language teacher. Not only did she worry about how changing sex would affect her job as well as the relationship with her students, but what worried for most was how to confess to her mother.
Today, although her gender on the Hong Kong identity card remind unchanged, the “He” chooses to live as a transsexual, where would “His” way of life lead?
Producer: Joan Fong
Assistant Producer: Jasper Leung
By the coast between Yau Tong and Lam Tin in East Kowloon is a forgotten corner. It is the Cha Kwo Ling Village, which is more than a century old, located on the outskirts of the urban area. The main street in the village is now disorderly cramped with squatter huts and entangled cables among them. The partly overlapping rooftops leave only narrow slits of the sky to be seen. In addition, the lack of main sewers means that flushing water is not available in most of the huts; therefore, many villagers rely solely on the public toilet near the village’s entrance. Everything there gives an impression of a fringe community where time stands still.
About a century ago, Cha Kwo Ling Village was a major producer of high-quality granite and the home of many miners. The village had a population of over 10,000 in its heyday. As the mining industry lost its importance later on, the mines no longer exist even though you can still see the small hills. With only over a thousand residents in Cha Kwo Ling Village currently, there are merely several shops left on the main street. Among them is a cafe with the history of half a century. The décor inside is the same as it was fifty years ago, so upon walking into the cafe you feel as if you have travelled back to the 1960’s. The reason that keeps owner Uncle Keng and his wife running the old-fashioned cafe is to provide a place for fellow villagers to meet up.
WU Lai-shan’s family has been living in Cha Kwo Ling Village for four generations, she is witnessing the village’s decline. According to her, the government has been speaking of developing the village ever since she was a child but it has been all talk and no action. Lai-shan feels there is nothing she can do about it. Although the village seems deserted now, she is still devoted to working as a tour guide in the village, introducing visitors to the past days of glory in great details.
Having grown up in the village, the 18-year-old TUNG Kam-hei well understands how unsatisfactory the public facilities are in this fringe community. Even so, he does not wish the village to be demolished by the government. He only wishes that the village’s conditions can be improved, so that the only large-scale squatter area in Kowloon may be preserved as a witness of the history of Hong Kong.
Producer: Tom Chan
Assistant Producer: Dorothy Yip, Cindy Chan