“Love Is a Gun”, Interview with Director Lee Hong-Chi

In an exclusive conversation with Lee Hong-Chi, the talented director and actor known for his work in “Thanatos, Drunk,” we had the opportunity to dive into the fascinating world of “Love Is a Gun.”

This film, directed, written, and starred in by Lee Hong-Chi, in the section Settimana Internazionale della Critica, takes us on a thrilling journey set between Hong Kong and Taiwan.

The movie follows the story of Sweet Potato, played by Lee Hong-Chi, a man trying to make an honest living after his release from prison. However, his dark past comes back to haunt him when his old “boss,” his mother, and his friend Maozi reappear suddenly. The film explores the conflict between Sweet Potato’s desire for a better life and the circumstances that force him to reckon with his criminal past.

During the interview, Lee Hong-Chi shared his inspirations behind the film, his experience as a first-time director, and the challenge of playing the lead role. He also discussed the complexity of the characters and the emotions involved in telling the story of “Love Is a Gun.”

Lee Hong-Chi is known for his versatility as an actor and has received significant recognition for his talent. “Love Is a Gun” marks a significant milestone in his career with his directorial debut. If you’re a fan of thrilling and engaging cinema, “Love Is a Gun” is a must-watch. Join us as we explore Lee Hong-Chi’s world and his remarkable contribution to this captivating cinematic work.

The Powerlessness of Living

Much like how the pandemic has made it impossible for people to make decisions freely, in this story, Sweet Potato is incapable of reclaiming his life. He is simply crushed by something greater than himself.

“Love is a gun” is an unrelenting tale of powerlessness. Through a skewed Pygmalion effect, the prophecy becomes self-fulfilling, and everything Sweet Potato wants to escape reappears. Lee Hong-Chi crafts and portrays a decadent character who succumbs to a misery reminiscent of Leopardi’s melancholy and Baudelaire’s spleen. But there’s nothing poetic about it, even though the cinematography desperately attempts to captivate the audience with the Taiwanese countryside and black volcanic sand beaches.

The fortune teller once said the boy was missing an essential element – water. And indeed, it’s fire that prevails, igniting in all forms: fireworks, a gun, a blaze. Lee Hong-Chi, both in and out of the role, orchestrates a scorching operation where flames rise in his presence, ultimately consuming what little life remained in his Taiwanese gangster.

Technicalities and Flaws

Presented in 4:3 format, “Love Is a Gun” by Lee Hong-Chi delights us with meticulously crafted sequences, particularly those involving the escape of Sweet Potato and Seven (Lin Ying Wei). She is so perfect that the frames seem like finished photographs.

We talked about the first part of the film that compels the audience to oscillate between distant and muffled sounds. Instead of being accessible, the characters evade the lens. Dialogues are distorted, sometimes even inaudible. Consequently, viewers strain to find even the smallest detail that might enrich the narrative. Sweet Potato’s struggle to reintegrate into society, and society itself snubbing him, is vividly portrayed.

However, this intensity becomes almost a hiccup in the second part, making it challenging to grasp the continuous and unexpected appearances of characters. The scene resembles a stage, with characters entering and exiting suddenly with poorly motivated ellipses. In an intriguing closing scene, a long circular panorama pays homage to the element that eluded Sweet Potato, the element to which he surrenders in the end.

Plot