29th ifva Awards
Youth Category Jury Meeting Transcript
Jury Members: Chan Kin-long (Chan), Fish Liew (Liew), Mani Man Pui Hing (Man),
Eric Poon (Poon)
Organiser representative: Roxane Tsui (Tsui)

Tsui:

Today, I hope everyone will give some suggestions or opinions about each work forour record. After completing this sharing, everyone will select a Gold award and a
Silver award. We also have a Special Mention award to recognise works that may
not reach the level of Gold or Silver, but still have artistic potential or are worthy ofpraise. In the past, in the Youth category, there were more than one Special
Mention award. The Gold Award winner will receive HK$3,000 in cash and a trophy
as encouragement, and the Silver Award winner will receive HK$2,000 and a trophy.
Special Mention works will receive a certificate. This year, there is also an award
for the most actively participating schools. This award does not need to be decided
by the jury. The school with the most entries will automatically win. Now is the time
to share your views on each work. The first work is My Best Friend.

Poon:

This work is quite complete, including narrative, expression, etc., and the twist at
the end is effective. The stop-motion animation is beautiful to look at, but at thesame time it limits its expression. Ending it with the little bear looking at the sea isenough. It's a little too much now, but this is the director's choice. Sometimes,
leaving something to the imagination is better and leaves a stronger impression.

Chan:

Actually, it’s not that much, there are more in other films! I think the rhythm of thefirst half is very good. In the latter part, the director may have injected his personalemotions, and the overall rhythm is appropriate. Some parts are a bit rough. Stopmotion animation is combined with real actors to express the filmmaker’s state ofmind, which is done very smoothly. In addition, it is not too long compared withother works, making the latter difficult to watch. The filmmaker makes good use of
the film’s duration.

Man:

I quite like the expression method of the work. Although the theme is very
depressing, it is smart to use stop-motion animation to depict a child who seems
very happy. It has children elements like colourful tone and stickers, etc. I quite likethis method. Overall, it is not bad in comparison with other works.

Liew:

I quite agree with what you said. I like that it doesn’t deliberately explain therelationship between the two people, but just depicts the protagonist having afriend. The pace is very brisk, and the director doesn’t cram too much informationin it. It is just a simple story about what happened to a good friend, told from achild’s point of view. His condition gets worse and worse, which I find very sad.
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Tsui:The next work is The Gift.

Man:

The actor surprised me and made me wonder if she really has that condition. It
turns out that the actor is also the director herself, and her acting skills areastonishing.

Chan:

When watching it again this time, I evaluated her performance according to ahigher standard. Considering her age, it is definitely above the standard. However,in many scenes, her acting is too deliberate, like she is trying too hard. This may be
because when secondary school students act, they are often clouded by emotions.
They let their emotions guide their performances. She is not following the path ofa typical pretty actress. If she wants to continue to be a director or an actor, I thinkshe should pay attention to the force of her acting, that is, she does not need to try
to impress. I have directed and acted in the past, so I understand this very well. Thisfeeling I get is that she wants to express herself. She might have better control of
the overall acting if she didn’t play this role herself but directed other people
instead. The role of the mother is a little bit off. This is just my friendly reminder.
The mother's acting brings the whole scene to a halt, and the mother is the main
focus of the story. I have higher expectations for the director, otherwise the film
only becomes an emotional release.

Man:

I agree, and because she is both the director and actor, I think she didn’t pay
enough attention to the subject matter. She focuses on some emotional scenes,
but are there more angles to express this subject matter?

Poon:

I think the work is cliched. The story describes the pressure faced by a single-parent
family with an autistic teenager. One party blames the other. The overall story isvery plain. It only presents certain emotions without going deeper to discuss theirdilemma. It is a Youth category work and the director is just a secondary school
student, and I think it is totally acceptable. If she is able to dig deeper into thissubject, it’d be better. Many young people ask questions about destiny. I hope shewill explore such subjects again. For this film, perhaps because she has to direct
and act at the same time, she had too much to handle.

Chan:

The script could have explored other possibilities, but that may be asking too muchof Youth category participants. I have some ideas about this subject and was hoping
to see more. This is not to say that the work is not good, in fact it is good, but I havehigher expectations of it.

Man:

Fish (Liew), regarding our comments about the acting, what do you think of theacting of the two main characters? What are your feelings? From an acting
perspective, can you share your views?

Liew:

At first, I had the same idea, that is, whether this girl really has autism. If she did,then the director used this actor well. There were some parts in the middle where
2the mood was wrong or out of tune, but the director used dubbing to help, which I
thought was very clever. For example, there is a scene where she is in the roomyelling, and she is actually not crying when she stands up, but the director dubbed
in crying sounds, which I feel is quite impressive. Then I found out that she is the
director. It is smart of her to use this method to remedy the situation, especiallysince she is a teenager under the age of seventeen. By comparison, the works I did
when I was that age were all rubbish. I try to use this film to gauge how young
people today think.
Tsui:

The next work is Untitled.

Poon:

During the first round, what impressed me most about this work were the twist
after twist in the story. The director is very clear-headed. Maybe there were someproblems during filming and the story she wanted to tell could not be completed.
What could she do? She also tried to explore some philosophical issues, so thedirector's thinking was very clear.

Man:

The director devised a new plan when the old one didn’t work.

Poon:

It’s a reaction to unexpected circumstances.

Man:

I was a little worried when I saw the middle part. It turned into a love story, which
went on for a very long. But after that long section, the film does have the clearheaded thinking you just mentioned, which is quite in line with the purpose of thiscompetition, that is, exploring the possibilities and creativity of media. The use ofsound is also very interesting. There was no sound from the protagonist at the
beginning when things are totally in a depressive state. In the second part, text
appears when she speaks, but she still has no voice. In the third part, she has avoice, but others don’t. I guess there was an unexpected incident during the
production, and then the team had to come up with creative solutions. However, I
feel that under this new arrangement, the middle section about love should be cut
short to adapt.

Poon:

She is reluctant to edit it out, but the middle part should be shorter or have fasterpace. There's something I don't understand, like the use of several repeated shotsof trees shadows under the sun. I don’t understand the meaning of these shots.

Chan:

I guess they just want to use it to signify the passage of time and transition fromone place to the next. The reason need not be too complicated.

Poon:

25 minutes is too long, but in the context of ifva, it signifies independent spirit. It
has some very raw elements while at the same time raises some quite sharp andimportant questions. That kind of depth is rare in this category.

Chan:

I think the part with the man and woman has nothing to do with the theme you justmentioned. It has nothing to do with depression or philosophical themes. The
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director could have made the connection with dialogue. Then when it gets to thefinal big theme, it triggered me to think a lot. It is a bit fragmented, that is, it uses
a formal structure, but does not connect it to the final ending.
Liew:

This work was quite an eye opener to me. I found that I had to break away from theusual limitations of production. I was attracted by the very interesting elements inthe film. For example, all the sounds, whether they are environment or dialogue,
are dubbed in afterwards, and the love story part follows the protagonist along.

Poon:

The sound may have been filtered to reduce noise, so it sounds very strange.

Liew:

I like it very much.

Tsui:

The next work is The Dream.

Chan:

I don’t know if we should discuss this alongside together with Lies are Everywhere.
The Dream and Incantation are very similar.

Man:

The production also made references to Incantation.

Chan:

Next time, if he references other people’s works, he should be smarter and makemore changes, such as changing the colour tone, instead of copying the entire
structure and treatment. Now I feel that the degree of referencing is too high andthere is no creativity.

Man:

It also shares footage with another work Lies are Everywhere.

Poon:

Both works talk about bullying, and the victim is the same boy. When young people
make films, they often reference other works, and even use them like copy books.
If you look at it from this perspective, the work looks quite good, but it lacks
originality. When young artists try certain methods of expression, they should go
further and attempt to tell stories in their own ways.

Chan:

It's like playing a musical cover of someone else's song. It is a very faithful imitation.

Man:

Not only does it reference other films in form, it also offers no original point of viewon the subject of fate. Regardless of the form or concept, it is based on other works,
so I deducted points in terms of originality.

Poon:

Let's discuss it alongside Lies are Everywhere. There is a twist at the end. The wholething is a rehearsal about what to say to the teacher. This group of bad students
are practicing with each other. The teams of Lies are Everywhere and The Dreamseem to have agreed to enter the competition together. The execution of this one
is well done, but it is a bit thin.

Liew:

I only understood after watching it twice.
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Poon:

The final twist is that when everyone goes to see the teacher, they have alreadyagreed on what to say, including the victim.

Chan:

I think that the filmmakers here can be more absurd and unrealistic, and the effectwill be greater. They could put in things that don’t make logical sense and let theaudience figure things out themselves. Then the story can be more unconstrained.
Now it just focusses on bullying. That is good enough, but changing the angle could
be better.

Poon:

The shot of the final victim is an overhead shot, which may not be the best choice.
Maybe seeing the person's face or even his eyes will make the feeling stronger,
reinforcing the point about everyone lying.

Chan:

The first fat guy acts very well!

Poon:

He looks very much like a person who bullies other people.

Liew:

I really like that they dressed up the music room to look like an interrogation room,
just like a cop movie.

Man:

The fourth person, the one wearing a black tie, is he the teacher’s mole or a bullying
student?

Poon:

Didn't make it clear.

Man:

The story only ends with a punch-line, but there are no bigger surprises. If there are
four bullies, the story could be more intricate, now it's too rough.

Poon:

If they can think in such a complicated way, then life would be very scary. It's pretty
good that teenage students can come up with this kind of story. They could havedeveloped it further by having someone in charge of the whole plot, whose identity
remain hidden.

Chan:

If they can write something like this, they could get jobs as screenwriters right away.

Poon:

The production is very smooth.

Tsui:

The next work is WHERE ARE ME GO.

Man:When I saw it the first time, I was pleasantly surprised by the space-time transitions.
At the same time, I wondered whether the space-time transition was planned or
unplanned? In the end, I felt that it was planned, because there were many detailed
props such as coffee, cola, black, white, etc. The moment when the grades areannounced, the change into black clothes at work are quite interesting, but it is a
bit preachy, especially the use of coffee as a narrative device, which is relatively
5lacking in creativity. The directors should leave it open to the audience’s
imagination.
Chan:

This work is not too surprising, but for this age group, there is no big problem withsuch a perspective. I think that if the directors have not yet reached a certain age,they should not write about it, because things will come out clichéd, just like young
people pretending to be adults. It will be better to express their present feelings. I
understand why they’d tried to do that, but this work does not bring any surprises.

Poon:

Their approach to space-time transitions is quite ambitious. I mentioned coffee justnow, young people may feel this way about it, but those of us who drink several
cups a day may not empathise. However, we are not the target audience of thisfilm. I agree with Long (Chan)'s comment that the subject matter and method of
expression are ambitious. There is still a lot to be said about this subject, since it
involves different stages of life, but talking about them may be premature for 17year-old or not. If they talk about the subject in purpose, it is easy to fall into
stereotypes. But now it is not completely stereotyped.

Man:

I was surprised by the editing. The subject matter involves the HKDSE Examination,
preparing for admission to university, what subjects to major in, etc. This part isvery appropriate to their age, but latter parts about working in the office seems torely on preconceived notions, and so appear bit clichéd.

Chan:

We raise these points not to criticise, but also in the hope that they will do better
next time. Overall, the works are in the most complete and finished form.

Poon:

I think the wavy pattern at the end is too much, it is not really necessary.

Chan:

It’d be better if they could achieve the same results without adding any effects.
Sometimes, using such effects is a sign of a lack of confidence.

Poon:

Old masters used to tell us that simple editing is the most powerful, you don’t need
any special effects to bring out the rhythm, and simple edits are the best. These
entrants are still learning.

Chan:

This protagonist has the potential to be a professional actor.

Man:

I also think he’s pretty good.

Poon:

He looks a bit wicked.

Chan:

His eyes are quite beautiful.

Liew:

I like the little girl. There is a strange sense of precociousness when she crosses herarms. The work brings out the topic of the pressure faced by today's young people
concerning the future, which is very different from the problems I faced when I was
6young. They have many problems that they don’t know how to solve, and they feelpowerless, which is pitiful. I also like the music when they talk about coffee, it’svery comedic.
Tsui:

The next work is The Freedom of Student.

Man:

The concept of the work itself is good and meaningful. The production shouldmatch the resources available, and the story could have been stripped down tomake it more precise. The problem now is that the middle part is very slow andlong, and many elements deviate from the original concept.

Chan:

I understand his intention. There is a kind of anger in the filmmakers, whichbecomes the driving force behind the work. They are very persistent about what
they want to say, but there is some hesitation. Some of the middle part can be cut
out. If they want to communicate their message more effectively, one of the ways
is not to be so repetitive. There is nothing to build up the relationship between thetwo students except giving the tape. I need to see that they have a close
relationship before I get emotionally invested. If their relationship was establishedin the first scene, I would sympathise with him later on. It needs to be establishedthat their relationship was built under this school system, and that they seek
freedom. The filmmakers need to think about these issues. This metaphor andworldview are relatively more important than other elements, so they need to pay
more attention to how to develop each scene and not just follow emotions.

Man:

The story tells that students do not have freedom on what they like under theeducation system nowadays. In addition, classmates despise each other.

Poon:

I wonder if they knew the duration of the work when they wrote the script. At 23
minutes, I think it is a bit too long in relation to the plot development. It depicts theprotagonist falling in love with classical music after being exposed to it. The girl who
acts very cool turns out to know classical music very well, but she does not tellanyone. The character design is complex and ambitious. The biggest setting isschool, a place where you will be disappeared if you don't follow the rules.
Everyone must follow the rules in order to live a quiet school life. Besides studying,students are not allowed to play music, or else they have to leave the school. The
boy does not need to go through a process of learning music. If he knows how toplay before entering school, the plot can develop much faster and more reasonably.
Before entering school, all students have talents, but the school does not allow
them to develop. This may help to get rid of an unnecessary storyline. What'sinteresting is the girl, if she actually knows how to play, the feeling will be stronger
when she was taken away by the two classmates.

Man:

Considering their age, what they have achieved is pretty good. They could go one
step further by exploring what benefits on despise each other? Why do they do this?
I hope the filmmakers can develop more on this theme under the current system.

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Poon:

This is a dramatic reaction to Hong Kong’s education system. From this perspective,
we should listen to the voices of young people on this issue. Adults hope that young
people can gain knowledge in the education system and advance in life. And it isgood for them asking questions about such career plans.

Chan:This is an indictment of the education system.

Tsui:

The next film is Underpalace.

Chan:

I quite like it. The tone is light, but the film also asks some personal questions, which
is done in a very lively way. The works I've been watching recently tend to be a little
bitter, but this one is very different. The directors are very good at using visuals tobring out the rhythm. In the part after the fight in the middle, the music is used welland one can see the sincerity behind the work, which I really like. When they started
playing the guitar, I felt nothing. It just expresses that no one cared about him, but
I sensed the warmth of his emotions.

Man:

The work has its own philosophy of youth. Some parts are bitter, it also suggeststhat time will heal everything, and this point is mentioned twice. It has a sense of
humour and also responds to some issues to young people using a very distinctive
approach.

Poon:

Perhaps the directors feel that the entire story should take place in a tunnel. Does
Underpalace convey such an image? Above the tunnel is the palace, and below thepalace is a sealed environment. This image is quite interesting and out of theordinary. Youth category works have a certain casualness, but the ideas behind thework are relatively well-thought-out.

Liew:

I like the humour of the work and how the character looks when holding a gun.

Tsui:

The next work is Blur.

Liew:

I like the dialogue in the work. With the conversation in the library, things are said
but so much is left unsaid. They keep talking in circles, and it is really a blur.

Chan:

I never thought that anyone in the Youth category would watch Michelangelo
Antonioni. I wouldn’t say I understand his films or not. His film focuses on theemotions, so there is no rational understanding. This work talks about the issues ofwhat art is and what films are, and is more mature than I expected. The director
raises these questions through the boy who wearing glasses. While asking thesequestions, did he make his position clear? Perhaps it needs to be stated moreforcefully, but raising these questions is already beyond the intellectual capacity of
the average Youth category entrant. If the director is good at thinking, he should
consider a more experimental approach in the future.

8Poon:

This work reminds me of another finalist work, Untitled, but this one tackles abigger question. This work explores what is film, what is art, etc. The approach isquite interesting. I think he didn't write a detailed script, but only lay out thegeneral setting for each scene. The fact that a young director is probing the natureof film and narrative is already surprising.

Man:

I really like that when he asks questions, the director faces these questions very
sincerely, without being preachy or providing answers. This attitude is quite rare. I
really appreciate this way of thinking, and it means that he will keep thinking about
these issues in the future.

Tsui:

The next film is The Maze of Identity.

Poon:

This work is not very complete, but I quite like it because the male actor’s
performance is very natural. The work represents current social changes such as
migration and study abroad. Both characters come from grassroots families andthey have to work 400 hours to earn enough money to buy air tickets. Insufficient
resources reduce their choices.

Man:

I enjoyed watching it, the story is down-to-earth, but feels incomplete, as if it was
cut off midway and then ends suddenly.

Chan:

There is a main plot line, but there doesn’t seem to be any connecting points in
between. I know the director’s intentions, but because there is no connection, thework seems disjointed.

Man:

The three characters are very three-dimensional, but the story is incomplete. One
girl appears to be bullied, but actually has many people supporting her, the othercharacter looks like a bully, but actually supports others, and the other girl also
appears to be a bully, but has a soft side. The characters are well thought-out, andthe actors’ performances are good. I don’t have high expectations of young
people’s works, but this one lacks wholeness.

Poon:

It feels very unfinished, but it has great potential. For example, the story states thatin a Band 3 school, there are only bullies and bullied, or those with power and those
without power. This set-up is quite interesting and can be extended to the entire
society. What determines whether a person has power? Does buying a plane ticket
to Canada give you power? Does having money mean you can control your own
destiny? There are very complex issues to explore, but the director only touches
lightly on them in this work. If he is interested in exploring these issues in the future,
this work can serve as a starting point.

Chan:

The aesthetics are very good. It has a texture that I like. It feels a bit like Sam Lee in
Made in Hong Kong. The director has great potential in capturing a certain urban
look and has an authentic feel. This feeling would be even stronger if the camera

9angles were not so stationary. The male and female leads are rebellious, so theymight as well be more playful with the filming.
Poon:

In terms of visual aesthetics, it ranks among the best among the ten works.

Liew:

You have stated my argument and I have nothing to add. The three protagonists all
did a good job. The girl’s acting is not good enough, but she has captured theessence of a character who speaks before she thinks. The male actor is also very
Chill. He plays a character is outwardly bad, and the character subtly reveals his
good side. However, autism doesn't look like this. Now he acts bit like a mentallyretarded person, which is wrong. Autistic people are usually very stubborn.

Chan:

He is too eager to express himself, which goes against the essence of performance.
He may change as he gets older, but this is a good attempt. At this age, his
emotional control is very good.

Tsui:

Now reaches the voting stage, please nominate your favourite Gold, Silver andSpecial Mention. In the Youth category you may consider giving Special Mention
awards to more than one work as encouragement.

Chan:

I choose Underpalace and Blur as my top choices.

Man:

I choose Untitled.

Chan:

I would also add in Untitled under the discussion on Gold or Silver.

Man:

I also want to choose Blur and Underpalace. The Dream and Lies are Everywhere forSpecial Mention.

Poon:

Untitled as Gold or Silver. And would put Blur, The Gift and My Best Friend under
the discussion

Chan:

In terms of form, Untitled is my first choice. Underpalace may not be the Gold, but
I like its liveliness and power that other works do not have. It is definitely not aSpecial Mention.

Poon:

In terms of liveliness, The Gift is more superior. The cinematography and sound arebrilliant, while Underpalace has youthful energy.

Chan:

I hesitate about whether Underpalace should be the Gold.

Man:

If the aim of the competition is to explore the possibilities of this medium,
independent spirit, promote cultural exchanges in Asia, etc., then Untitled is at ahigher level. It was interesting when I watched Underpalace the first time, but I
didn't understand why it was called Underpalace. Its concept is not as high as
Untitled.
10Liew:

I like Lies are Everywhere better. It is good in many aspects, including theatmosphere and the use of cinematography to highlight the protagonist's
psychological state. My second choice is Underpalace. I like its sense of humour andrhythm. I didn't know why it was called Underpalace, but I noticed that the tunnel
is under Central, so it is interesting to call it Underpalace. The name is creative. I
also nominate The Maze of Identity as Special Mention.

Chan:

Underpalace has many layers, it expresses the emotions of young people in Hong
Kong, and it also has sincerity. The beginning and ending parts of Untitled arefragmented and not as complete as Underpalace, but I don't mind its flaws.

Man:

So what do you think of Blur?

Chan:

I also quite like Blur, but the thing I like has nothing to do with the structure or
execution, but that its vision is different from others. I hope to choose a work thathas all the elements such as execution, acting, etc.

Poon:

I think Blur deserves Special Mention, but the main character doesn’t experience a
lot of emotional changes. Untitled portrays the filmmaker's distress. Its
fragmentation is a flaw, but the twist at the end is very unique.

Man:

Underpalace is very adventurous and unrestrained, but not as thoughtful as
Untitled. The love scene is embarrassing to watch on the big screen, and it is a
failure in execution. The Dream and Lies are Everywhere are very good, but becauseof the shared theme, to me, they only deserve Special Mention.

Poon:

In the past, jury members often discussed the aims of the competition. Should theexperimental nature of independent short films be advocated? From thisperspective, both Underpalace and Untitled meet these criteria, but I can't decide
which one is Gold and which is Silver. Both works show the condition andspontaneous creativity of today's youth, the works were not done at the initiativeof teachers.

Man:

My Best Friend is a bit forgotten. Within a three-minute duration, it expresses many
emotions and messages.

Chan:

I would put My Best Friend as Special Mention. It is relatively complete andenjoyable, but it has little impact.

Poon:

I think another work that deserves Special Mention is Blur.

Chan:

I agree with Blur too.

Poon:

I also selected The Gift as Special Mention because its overall production level is very
high, although it is more conventional.
11Chan:

I also selected The Gift for Special Mention, but it is unbalanced and less complete.
In my mind, Gold and Silver award films need to be complete. Untitled has its flaws,
but the twist at the end is so strong that I forgive its imbalance. Underpalace is a
few issues with rhythm, but it's relatively complete.

Poon:

I don't object to Underpalace getting the Gold award, and it is reasonable for
Untitled to be awarded the Silver award. The Gift is not as complete as other works,
but it stands out because directed and acted by oneself.

Chan:

I care not only about individual talent, but also about the work on the whole.

Man:

I have no doubt about My Best Friend being given Special Mention. I would like totake away my nomination of The Dream for Special Mention because the themeand execution has no breakthrough and is too close to its object of imitation. Blur
has a sincere message. I still haven't decided for The Gift yet but Blur definitely
deserves Special Mention.

Chan:

I agree with Blur receiving Special Mention.

Poon:

Another work worth paying attention to is WHERE ARE ME GO.

Man:The production scale of WHERE ARE ME GO and The Freedom of Student is very
similar. The concept of The Freedom of Student is good, but the precision of thenarrative leaves room for improvement.

Poon:

Then I would withdraw my nomination for The Gift as Special Mention at the
moment.

Liew:

Maybe I seldom watch short films, when the production is not so well-made, I get
distracted, so I missed many of the points you brought up. A short film may only
require creative idea. I like The Freedom of Student, but it's too long and too slowpaced. I think The Gift deserves Special Mention. I found it comforting to watch.
The Maze of Identity also deserves Special Mention.

Chan:

I would also withdraw my nomination for The Gift and I nominate The Maze of
Identity for Special Mention because of its aesthetic.

Poon:

My three Special Mention nominations are My Best Friend, Blur and The Maze of
Identity. It doesn't matter to me whichever Untitled or Underpalace wins Gold or
Silver.

Chan:

I nominate Underpalace for Gold award.

Poon, Man and Liew: I agree.

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Man:

Underpalace goes Gold and Untitled goes Silver.

Tsui:

Fish (Liew), I want to confirm with you whether your Silver award nomination is for
Untitled?

Liew:

My Silver is for Lies are Everywhere. Ostensibly, everyone is lying, the big lie will
always leave behind. It is very complete and the actors are very good, especiallythe fat guy. I appreciate that they made it look like a cop movie with limited
resources, which is rare.

Tsui:

To sum up, the Gold goes to Underpalace, Silver goes to Untitled. There are three
Special Mentions, they are My Best Friend, Blur and The Maze of Identity.

29th ifva Awards
Youth Category Award Winners
Gold Award
Underpalace
Chiu Ka Yin, Pak King Tai, Li Tsun Wai

Silver Award
Untitled
Chan Wing Hei SytricSpecial Mention
My Best Friend
Jordan Lau
Blur
Mak Kwan Yu, Young Chun Hin Gabriel, Cheng Ho Man Abel, Ching Yat Long, Lam Chung Hei
The Maze of Identity
Chan Pak Yin

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