Anna Magdalena

Scruffy but irresistibly attractive Yau Muk-yan, without a job or a place to live, moves in with sensitive, shy piano tuner Chan Kar-fu. Both are disturbed, then obsessed, by the amateurish piano playing of upstairs neighbour Mok Man-yee. Obsession turns to romance, and romance to fantasy. The film is structured in four “movements”: two themes (Yau Muk-yan, Mok Man-yee), a duet (Yau Muk-yan & Mok Man-yee), and a set of variations (a wild fantasy of Chan Kar-fu in his new novel). —L.H. Wong