唱盘上的单行道

這部電影是一個歷史的對照 –沒有我們自己對現今香港社會的(不同的)認知和感受，沒有我們對自己（最私人的）過去的迷離幻化卻又實實在在的反映，和在把自己毫無保留地攤開來看過究竟的過程中抓緊回憶的未來，這個作品，並不成立。同時，沒有對香港和自己的歷史的認識，我們也不可能在這個作品中和自己的生命裡（比較）自由地穿梭，更談不上在電影裡尋覓必須浮游的主體（相對凝固的香港身份 ﹣﹣ 的問題），和我們，自己(浮游又凝固的主體)。這不是簡化的對大歷史提出不滿，我只是想用／再挪用／混合 ﹣﹣實驗電影／紀錄片／ ＭＶ／田野錄音的語言去敍事，去講好幾個我哋自己嘅故仔。最後，都只不過係講故仔。這部電影，是用歷史的對照，去講故仔。– 麥海珊This film is about how people understand Hong Kong and Hong Kongers, thus also about how we understand ourselves, as Hong Kongers.Tracing personal histories from spatial memories is the essence of this film. The juxtaposition of two stories on “first home” – director’s story (as a local born Hong Konger) in Kwun Tong and the actress’ story (a new immigrant from China to Hong Kong in the 80's) in Mei Foo Sun Chuen, may re-inscribe Hong Kong history and Hong Kongers' changing identities in a more interesting way than what the grand narrative history offers, be it the British colonial government, or the seemingly self-governed Hong Kong government under People's Republic of ChinaAnd identities… have been tarrying between moving and rootedness…