Clara Law’s Floating Life interweaves numerous spaces, languages, and accents. An old couple left Hong Kong to Australia where their second daughter lives. Their first daughter has lived in Germany with her husband and daughter for a long time. Their son is still waiting for an Australian green card and is staying in Hong Kong with his Canadian girlfriend. While these people are trying to get accustomed to their new lives, the day of Transfer of Sovereignty over Hong Kong is getting closer. Throughout the 1980s and ‘90s, the Hong Kong film industry has made numerous apocalyptic films addressing the anxiety and fear of returning Hong Kong to China, much of which has been expressed through the flamboyant violence in Hong Kong noir films, which are pretty familiar to Korean audiences. But 1996 is no longer a time to hide in metaphors, and indeed, Clara Law, a Hong Kong-Australian, ditches the exaggeration and metaphors. She instead directly describes the real experiences of people who have left or are leaving Hong Kong. In addition, she straightforwardly pictures the pride of Chinese culture and Cantonese speakers despite immigration. And for the audience in 2022, who now looks back at the future that was to be, this record of the ‘90s must have a different meaning. [Djuna]