# Luz (2025 film)

Luz (Chinese: 花明渡, stylized as LUZ) is a 2025 China-Hong Kong film written, directed, edited and produced by Flora Lau. It is Lau's second feature film since Bends, starring Carina Lau and Chen Kun and premiered in Un Certain Regard at Festival de Cannes in 2013.
"The film is a fictional drama that explores contemporary lifestyle and psychology through themes of self-discovery, human connections, technology, and familial relationships. The film employs elements of magical realism, skilfully blurring the lines between the virtual and the real."
The screenplay was developed by Flora Lau and verified by Cinefondation of Festival de Cannes.
LUZ features acclaimed international casts, including Isabelle Huppert, Sandrine Pinna (張榕容), Guo Xiaodong (郭曉東), Huang Lu (黃璐), David Chiang (姜大衛), Deng Enxi (鄧恩熙).
Producers and Heads of Departments have earned a portfolio of the most iconic films - including Wong Kar-Wai's Days of Being Wild and The Grandmaster, Zhang Yimou's Hero, Ang Lee's Lust, Caution, Sebastian Lelio's A Fantastic Woman, Alejandro Landes' Monos, etc. - in the international film history with accolades in world's most prestigious occasions, including Oscars Academy Awards, BAFTA, Golden Globes, Festival de Cannes, Venice Film Festival, Berlin Film Festival, Taipei Golden Horse, Hong Kong Film Awards, and more.
Leading Cast, Isabelle Huppert, expressed in the interview by Film Comment that it is "a very original, fascinating film by Flora Lau. LUZ is done in a new way. It'll guide you to an unusual journey."
In a feature article on Flora Lau and LUZ by Caroline Tam of Hong Kong's Jessica Magazine, the director is called "a visionary filmmaker". Lau is described as "empowering the future: revitalizing Hong Kong cinema" as "the innovative story and unique narrative of LUZ showcases the unseen facets of Hong Kong culture waiting to be discovered..." Furthermore, "she is poised to pave the way for a resurgence in the industry, inspiring both audiences and aspiring filmmakers alike to explore and celebrate their identities." The journalist believes that "Lau's bold entry into the industry sparks hope that a new generation of filmmakers can reintroduce Hong Kong's rich cultural tapestry to a global audience."

## World Premiere at Sundance 2025

The film debuted at the Sundance Film Festival on the festival's opening day of January 23, 2025 in the World Cinema Dramatic Competition category, which shortlists 10 International films every year, among the over 17,000 films from 150 countries submitted to the festival.
The Office of Director of Programming of Sundance Institute describes the film on the official website, "Though there's an immersive quality to LUZ, Lau deftly refuses a singular, escapist reading of VR's employment, opting instead to guide us towards technology's expansive complexity in its relation to art, family and healing."
"Writer-director Flora Lau receives an enthusiastic welcome from the audience as she is introduced and steps onto the stage at The Egyptian Theatre in Park City, Utah."
The film was introduced by Shari Frilot, Chief Curator, New Frontiers at Sundance Institute, who remarked LUZ as a "maverick film" by a "truly remarkable director who offers a fresh way of thinking and feeling about technology and how it can bring people together, rather than tearing us apart."
Despite being a frequent attendee at all world's top film festivals, LUZ is Isabelle Huppert's first film at Sundance. However, she was not able to attend the film's world premiere due to her performances in two stage plays that were touring in Italy and the United States. However, she surprised the audiences with a pre-recorded video, in which she expressed that she was very happy to have worked on the film with Flora Lau. She thinks that "the way she (Lau) guides us towards technology's complexity is really riveting, and in its relation to art, family, and healing." Isabelle ended the video with again praising Flora Lau as a "great director and wishing her and the film the best of luck."
"LUZ was a labor of love for everyone involved in the film’s journey. Lau shares that the process was eight years long due to many obstacles. “It took me quite a while to develop the script, and the game part was especially very difficult to figure out, and the production was across a few different countries.” At the premiere’s Q&A, she invites seven members of her film team to join her on stage, and we can see that she is surrounded by her film family, who were committed to the project from conception to completion."
Following the world premiere, the film had 6 other screenings in Park City and Salt Lake City at Sundance 2025. Screening tickets were sold out promptly upon the opening of ticket sales on the first day.

## Synopsis

The film follows the lives of two people. Wei searches for his estranged daughter, Fa, throughout Chongqing, and Ren, a gallerist in Hong Kong, contends with her ailing stepmother, Sabine, who lives in Paris. The two meet in a virtual reality world with a quest to capture an elusive, mystic deer, which unexpected sparks a journey of discovery and connection.

## Cast

* Isabelle Huppert as Sabine, Ren's stepmother
* Sandrine Pinna as Ren, a gallerist
* Guo Xiaodong [zh] as Wei, a karaoke bar worker
* Huang Lu as Hong
* David Chiang as Boss Qiu
* Deng Enxi as Fa, Wei's daughter
* Ren Yu as Ma, Wei's coworker
* Zhang Yunyao as Gang, Painter ; also the painter of the film's feature deer painting
* Mimi Xu as Mimi, Sabine's assistant ; also the film's Music Composer
* Yvette Tang as Lan, Ren's boss ; also the film's Executive Producer and Producer
* Kaori Ito as dancer ; also the film's choreographer
* Aric Chen as A.I. Bartender
* Wong Ping as A.I. Bartender 2

## Production

At the world premiere, "Lau shares that the process was eight years long due to many obstacles. “It took me quite a while to develop the script, and the game part was especially very difficult to figure out, and the production was across a few different countries.”"

### Writing

The screenplay was written by Flora Lau and verified by Cinéfondation of Festival de Cannes in 2015.

### Filming

LUZ was shot in Mainland China, Hong Kong SAR, and France. Principal photography began in May 2018 in Chongqing. The director of photography was Benjamin Echazaretta, a reputable French-Chilean cinematographer, who had worked with other well-known directors with Oscar-nominated films. To ensure the core qualities of the film, gaffer and sound engineers from France followed the entire filming of LUZ in different countries.

### Production & Costume Designs

Award-winning production designers Alfred Yau (邱偉明) from Hong Kong and Mila Preli from France and costume designers Miggy Cheng (鄭秀嫻) and Khadija Zeggaï contributed essential efforts to the film. There was an extended amount of elaborated sets and scenes shot in Chongqing that did not make it to the final version of the film. Besides costumes that were specially made by costume designer Miggy Cheng for the main characters, stylish pieces from various designer brands, including Loewe, Dries Van Noten, Lemaire, Shang Xia, Yohji Yamamoto, Comme des Garçons were used to outfit the characters. The ensembles worn by the casts in the VR world are from the Australian fashion brand, Song for the Mute, led by Melvin Tanaya and Lyna Ty.

### Artworks

The film has included numerous artworks by world acclaimed artists, including Chinese painter Yan Pei-Ming, French photographer/director Antoine d'Agata, Chinese painter Gao Ludi, Hong Kong exciting animator Wong Ping and painters Afa Lee and Prodip Leung, and others. Both the real and the replica of the deer painting, "Twilight Forest", were painted by renowned Chinese painter Zhang Yunyao, who resides in Paris. The stylized opening credits shown in neon light graphics are works by Japanese artist based in France, Tom Kan.

### Dance

Japanese dancer and choreographer Kaori Ito, who is known for her signature dance style and awarded the Chevalier of the Ordre des Arts et des Lettres by France in 2015, participated in the film as the dancer collaborating with the character Sabine, played by Isabelle Huppert. Ito created the dance, "Rebirth", especially for the film and performed in it.

### Music

The score, by French-Chinese composer and highly sought-after musician & DJ Mimi Xu, consisted of a wide range of genres, from classical music with piano and string instruments to electronic tracks with heavy beats. Songs used in the film have just as a vast variety -- from "Group Exercise" by Chinese-American rapper Bohan Phoenix to "J'en déduis que je t'aime" by Charles Aznavour, a classic French ballade from the 60's. The great range of music was carefully composed and chosen to set the film's balance of classic and modern elements, style and values, in terms of the messages of the story, the visuals as well as Flora Lau's film language.

### Post-Production

Animation and VFX were done in France by Noid and CGEV. They are very important elements to the film, as they collectively connect the real-world stories of LUZ. Director Flora Lau also wanted to create a unique style of the deer and the VR world that would blur the line of virtual and reality and yield a sense of fantasy in the characters' daily lives.
The complicated editing was done by Flora Lau with help from Fernando Epstein and Denis Bedlow. Color-grading was done by Marc Boucrot.
The post-production was completed in Paris in late 2019, and further fine-tuned in Hong Kong until 2025.

## Themes and Interpretations

At the world premiere, Flora Lau explains that "‘Luz’ is the Latin word for light, but it’s not light that is coming from your light bulb. It’s organic, universal light that connects us all.” And, the words in the Chinese title "花明渡" mean "flower (花; huā), illumination (明; míng), and journey (渡; dù)". The first two words "花明" are borrowed from a famous ancient Chinese poem by Lu You from Song Dynasty.
Lots of metaphors, philosophies and ancient wisdom from the East and the West are embedded in the film. The deer, the willow tree, the neon signs on the rooftop... to name a few. Director Flora Lau intends the audiences to unfold more of the film's messages on their own from time to time, as they uncover more or progress to a different chapter in life, or when they revisit the film.

## Critical Reception

Carlos Aguilar of Variety praised Luz for its "dazzling, otherworldly frames" of Chongqing's cityscape and its "mesmerizing imagery galore" in the virtual reality realm, and the narrative "poses mind-expanding questions" in addition to its "seductive stylization".
Beandera July of IndieWire described the film as an ambitious project that features "lush" visuals and a strong mise-en-scène, it ultimately feels "largely an intellectual exercise" that "pushes us to redefine reality... shaping something as genre-defying as virtual reality into a quiet, globe-trotting drama".
Elizabeth Weitzman of TheWrap reviewed the film with a headline remarking "Flora Lau Conjures a Gorgeous Drama of Technology and Isolation." The reviewer lauded Lau's visuals by calling the film "a visual marvel", and sense of mounting anticipation throughout the film "that is likely to send you out of the theatre in search of palpable reality: some grass to touch, maybe, or a hand to hold."
Jordan Mintzer of The Hollywood Reporter also found the film to be an "ambitious experiment" that "jumps between locations and protagonists without much warning", ultimately appreciating its "powerful imagery" and immersive experience, that "(Director) Lau showcases her talent for building visual links between diverse spaces and places", making the film feel more like a "visual piece".
Brian Truitt of USA Today remarked that the film "does offer an immersive, neon-drenched digital world nicely fleshed out with relatable humanity."
Gabe Miller of The Industry interviewed Isabelle Huppert and reviewed the film, remarking "by the end of LUZ we understand something profound: the best virtual reality is the one we create in real life. Finding our own private realms and overlaying our emotional shape and resonance to it. That's where true connection can be found."
Kristy Puchko of Mashable described the film to be "pensive and poetic, this family drama is sure to find devotees enchanted by Lau's unique vision."
The Montage Review pointed out that "one particularly fascinating aspect of the film is the differing ways individuals express care for their family members", as "the film illustrates how the choices we make in expressing our individual life philosophies can inadvertently hurt those who do not share the same approaches or beliefs." It praises the film as "certainly a work that will leave your eyes marveling and your mind pondering."
Drew Burnett Gregory of Autostraddle also found the film to be "formally enchanting", highlighting the clever overlapping of the real world and the video game, which creates a sense of "heightened rapture" that captures the characters' sadness and longing, even if the dialogue sometimes lacks the same finesse as the film's visual style.
Anzhe Zhang of Slant Magazine observed a "lack of emotional details in the film’s character arcs, which both end in understated and abrupt ways" but lauded the film's use of virtual reality as a means of establishing connection and raising questions about "modern intimacy and alienation."