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Introduction

Hong Kong in many occasions is seen as a place that filled with ambivalent. “Hong Kong is both East (from a Western point of view) and West (from a Chinese point of view), both subaltern and hegemonic as a dynamic financial and trading centre, both premodern and postmodern.” (Stephen Teo, 1997: pp.248) This ambivalent also exists in the modernity of woman in Hong Kong. In recent years, numerous of movies made in Hong Kong had more or less highlighted the figures of woman as “moments of existential and ontology crisis. In supporting the argument, the movie called 20 30 40/ Nu Ren 20 30 40, directed by Sylvia Chang/ Zhang Ai Jia – one of the earlier Hong Kong movies acting, will be used as a base throughout this essay. With varieties of other form of academic resources, this essay aims to develop through, mainly, three areas: 1) woman-as-home, 2) woman-as-truth, and 3) woman-as-modernity. Since the story is base on the three woman, which aged 20, act by Lee Sinje; 30, act by Rene Liu; and 40, act by Sylvia Chang, the essay will focus on these ‘individual’ women.

Aged 40 – Lily Shi (Sylvia Chang)

This character was first introduced into the story with a scene where she is busy recording every moments with her family with her video camera, while they are at the airport, on the way back from a vacation trip. She had put in a great effort in requesting for comments from both her daughter and husband while one is busy on the phone and the other is playing games on the phone. Not surprisingly she did not receive any reply from them. After a short while in the movie, she found herself to be shocked when she accidentally realizes that her husband had established another family outside and had a child aged a few years old already. These are set up of the character in order to further demonstrate how and in what ways a forty year old woman will continue her life in today’s society.

She has what most...