SPECIAL PROGRAM

The 3rd Macao International Queer Film Festival

Some stories can only quietly take root in the dark - until a beam of light pushes the door open, tearing a crack in the silence. The 3rd Macao International Queer Film Festival, themed “Tenderness·Revolution,” tells a silent uprising through films. While mainstream lenses still shy away from our truths, we gather the warmth left behind by the camera - restitching the kisses that were cut, the tears that were muted, the hugs that were pixelated, the desires deemed “forbidden,” frame by frame, back into the narrative of our lives. With tenderness, we hold the camera: close-ups capture the pulse beneath the skin, long takes linger on the weight of silence, and montages piece together lives that resist easy definitions. And the revolution hides between every cut, for when the projector light flickers on, something always begins to take root in the eyes of the audience. Every frame is a tender revolution. From 2023 to 2025, we’ve arrived at our third edition. This time, there’s no need for voice-over, we speak for ourselves.

Some stories can only quietly take root in the dark - until a beam of light pushes the door open, tearing a crack in the silence. The 3rd Macao International Queer Film Festival, themed “Tenderness·Revolution,” tells a silent uprising through films. While mainstream lenses still shy away from our truths, we gather the warmth left behind by the camera - restitching the kisses that were cut, the tears that were muted, the hugs that were pixelated, the desires deemed “forbidden,” frame by frame, back into the narrative of our lives. With tenderness, we hold the camera: close-ups capture the pulse beneath the skin, long takes linger on the weight of silence, and montages piece together lives that resist easy definitions. And the revolution hides between every cut, for when the projector light flickers on, something always begins to take root in the eyes of the audience. Every frame is a tender revolution. From 2023 to 2025, we’ve arrived at our third edition. This time, there’s no need for voice-over, we speak for ourselves.
Queerpanorama (3rd MIQFF) (Pornography)
87 Minutes
A gay man impersonates men he has had sex with and brings this new persona with him to his next hook-up. Only by pretending to be someone else can he be truly himself.
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Artist in Focus: Ix Wong Short Film Compilation (3rd MIQFF)
56 Minutes
“A Missing Scene from Floral Princess: An Untold Suicide of the Last Ming Emperor” (26’)
Reenacting the suicide episode of the last Ming emperor, Chong-zhen from the classic Cantonese Opera The Flower Princess, this experimental short film blending Cantonese Opera and modern dance elements reveals the journey of the defeated emperor accompanied by his faithful eunuch, Wang Sing-yan, on their way to the summit of Coal Hill to end their lives. Apart from inviting new perspectives towards their ambiguous queer overtones, it also explores the crossroads of life and death, authority and obedience, love and sacrifice, power and duty, that befall under the traditional patriarchy.
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I Killed My Mother (3rd MIQFF)
96 Minutes
Hubert Minel does not love his mother. The 17-year-old regards her with contempt, and does not see beyond her tacky sweaters, the kitsch decorations and the breadcrumbs on the corner of her lips when she eats. In addition to these irritating surface details, there is also his parents’ cherished mechanisms of manipulation and guilt. Confused by this love/hate relationship that obsesses him more and more each day, Hubert drifts through the mysteries of an adolescence both marginal and typical – artistic discoveries, illicit experiences, the opening-up to friendship, sex and ostracism.
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The Wedding Banquet (3rd MIQFF)
102 Minutes
Angela and her partner Lee have been unlucky with their IVF treatments, but can’t afford to pay for another round. Meanwhile their friend Min, the closeted scion of a multinational corporate empire, has plenty of family money but a soon-to-expire student visa. When Min’s commitment-phobic boyfriend Chris rejects his proposal, Min makes the offer to Angela instead: a green card marriage in exchange for funding Lee’s IVF. But their plans to quietly elope are upended when Min’s skeptical grandmother flies in from Korea unannounced, insisting on an all-out wedding extravaganza.
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Brokeback Mountain (20th Anniversary) (3rd MIQFF)
134 Minutes
Ennis and Jack are two shepherds who develop a sexual and emotional relationship. Their relationship becomes complicated when both of them get married to their respective girlfriends. The complications, joys and heartbreak they experience provide a testament to the endurance and power of love.
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Young Hearts (3rd MIQFF)
99 Minutes
Elias feels attracted to his new neighbour Alexander. Soon he realizes that he's truly in love for the first time. The interactions with his friends and family bring more questions than answers. Confused by his burgeoning feelings, Elias tries to sort out his inner chaos to prove that he is worth Alexander’s heart.
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Lesbian Space Princess (3rd MIQFF)
87 Minutes
A space princess is thrust out of her sheltered life and into a galactic quest to save her bounty hunter ex-girlfriend from the Straight White Maliens.
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Viet and Nam (3rd MIQFF)
129 Minutes
Nam and Viet love each other. Both are miners, working 1000 meters below ground where danger awaits and darkness prevails. Coal earns them a living, while polluting the land and the sea. Black sea. Black coal. Burnt coal. Wet coal. Dusty coal. When Nam decides to leave the country via an agent who smuggles people in shipping containers, it causes a rift between his love for Viet and the desires for his own future.
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Love & Revolution (3rd MIQFF)
106 Minutes
Seville, 1977. Reme is proud that her son Miguel is going to become the first person in the family to go to university. But what Miguel really wants is to be an artiste and sing in a popular television competition. At a time when in Spain homosexuality is a crime, Reme will also discover who her son’s new friends are: the incipient Andalusian LGTBI movement, which paradoxically arose in the bosom of the Church.
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Baby (3rd MIQFF)
107 Minutes
After being released from a juvenile detention center, 18-year-old Wellington (Baby) finds himself alone and adrift on the streets of SãoPaulo, without any contact from his parents and lacking the resources to rebuild his life. He encounters Ronaldo, a mature man, who teaches him new ways of surviving. Gradually, their relationship turns into a conflicting passion.
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Lilies Not for Me (3rd MIQFF)
99 Minutes
In 1920s England, a gay novelist and his psychiatric nurse form an unlikely friendship over a series of doctor-prescribed ‘dates’. Through their conversations, he tells her the story of his relationship with an old friend which spiraled out of control when they turned to a risky procedure to cure themselves of their forbidden feelings for one another.
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The Adventures of Priscilla, Queen of the Desert (3rd MIQFF)
104 Minutes
Two drag queens and a transgender woman contract to perform a drag show at a resort in Alice Springs, a town in the remote Australian desert. As they head west from Sydney aboard their lavender bus, Priscilla, the three friends come to the forefront of a comedy of errors, encountering a number of strange characters, as well as incidents of homophobia, whilst widening comfort zones and exploring new horizons.
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Sebastian (3rd MIQFF) (Pornography)
110 Minutes
Max is a 25-year-old freelance writer and aspiring novelist who seems well on his way to success in London’s cultural spheres. Yet by night, he finds a different kind of exhilaration as a sex worker with the pseudonym Sebastian, meeting men via an escorting platform. Max uses his experiences as Sebastian to fuel his stories and the worthy debut novel that he has been longing to write, finally seems within reach. As Max increasingly struggles to remain in control of a delicately balanced double-life, he must reckon with whether Sebastian is merely a writer’s tool in their quest for the ultimate sense of first-hand authenticity – or whether something more is at stake.
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Queer (3rd MIQFF)
137 Minutes
1950. William Lee, an American expat in Mexico City, spends his days almost entirely alone, except for a few contacts with other members of the small American community. His encounter with Eugene Allerton, an expat former soldier, new to the city, shows him, for the first time, that it might be finally possible to establish an intimate connection with somebody. An adaptation of William S. Burroughs’ semi-autobiographical book by acclaimed filmmaker Luca Guadagnino, Queer is a phantasmagorical distillation of Burroughs’ ideas and preoccupations, featuring a commanding, brilliant performance from Daniel Craig.
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Sirens Call (3rd MIQFF)
121 Minutes
A nomadic siren journeys through a scattered Earth, navigating biography, identity, and belonging while challenging tensions between mythology and postmodern reality in a genre-defying hybrid of science fiction and documentary.
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Do I Know You from Somewhere? (3rd MIQFF)
79 Minutes
A couple's life gradually unravels as their shared memories and experiences start disappearing, leaving them questioning the very foundation of their relationship.
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If You Are Afraid You Put Your Heart into Your Mouth and Smile (3rd MIQFF)
87 Minutes
Twelve-year-old Anna switches from middle school to high school. Things are quite different here: the children in the new school come from a completely other social class. Anna feels ashamed of her background and her deaf mother. During the ski week, Anna must pretend to be sick. The money set aside for the ski course is spent on buying a sofa bed, which should enable her mother to have a sexual relationship, but also provide the daughter with a bit more privacy. Mara, a friend in class, becomes an ally when it turns out that she also is hiding a secret.
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Four Mothers (3rd MIQFF)
86 Minutes
Edward, a novelist saddled with caring for his elderly mother, finally finds himself on the brink of literary success. With pressure to go on a U.S. book tour mounting, the last thing Edward needs is his friends jetting off to Spain for an impromptu Pride holiday, leaving their mothers on his doorstep! Over a chaotic weekend, he has to juggle his burgeoning career with the care of four eccentric, combative, and wildly different ladies.
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Critics Choice 2025 - Turn of the Century

It’s already 2025. Before we knew it, the 21st century has already entered its 25th year. Remember how we made it from the 20th century? Why do those who weren’t born yet at the time obsess over everything from Y2K? Do you remember (or know) the millennium bug, ICQ and 56K? The internet is undoubtedly the most influential technology of recent times. “At the time I wrote this film the internet was just starting to become popularised. It was before anybody really had a full idea of what effect it was going to have on our daily lives.” Keeping his finger on the pulse, Japanese director Kurosawa Kiyoshi carves a spiritual totem of early 21st century mankind with Pulse (2001), foreseeing how the internet would erode the hearts of modern humans. “Maybe it was the effect that the turn of the millennium had on me. The more modern and developed our society is, the sense of alienation between people grows stronger and stronger.” Chinese Fifth Generation filmmaker Tian Zhuangzhuang had a similar sentiment, but he chose to take a different route and remake a 1948 Chinese classic into Springtime in a Small Town (2002), getting away from the hustle and bustle and returning to the mysterious realm of the old days. As the new century approached, world cinema saw many new developments. The early 1990s saw the rise of many American independent filmmakers. Among them, New Queer Cinema pioneer Gregg Araki made the Teen Apocalypse Trilogy. Its middle chapter The Doom Generation (1995) taught Gen X to get high and has become regarded as a cult classic; in Germany, a group of graduates from the German Film and Television Academy Berlin – later labelled the Berlin School – quietly made their way into the spotlight of world cinema. Among them, Christian Petzold began the “Ghosts” trilogy with The State I am In (2000), outlining German history with new cinematic aesthetics; the Dogme 95 Movement may have begun in Denmark, but it managed to cross the Atlantic Ocean and inspired the then-unknown Sean Baker to make Take Out (2004) with his creative partner Shih-Ching Tsou for an extremely low budget, laying the foundation for his vérité cinematic style. Little did anyone know that he would achieve unrivaled success 20 years later by sweeping both Cannes and the Oscars for the same film. Just as people were looking forward to better days in a new century, conflicts that had been culminating for years exploded: The 9/11 attacks, the Israel-Palestinian conflict, the Iraq War...Many filmmakers chose to use their creative works to respond to the chaos. Palestinian director Elia Suleiman’s Divine Intervention (2002) satirises the Israel-Palestinian issue with absurd deadpan humour. Watching it again as the war continues to rage on in Gaza, the film still feels as on point as ever; made when he was over 90 years old, Portuguese maestro Manoel de Oliveira’s A Talking Picture (2003) uses a cruise ship that sailed in 2001 to speculate on the history of human civilisation and question the source of chaos all around the world; Mexican director Carlos Reygadas’s Battle in Heaven (2005) uses shocking images and sounds to paint a portrait of post-millennium Mexico City and dig deep into its class problems. It’s an interesting companion piece to the depiction of migrant workers in Take Out. With these eight films, we look back at the once-in-a-hundred-year “Turn of the Century”.

It’s already 2025. Before we knew it, the 21st century has already entered its 25th year. Remember how we made it from the 20th century? Why do those who weren’t born yet at the time obsess over everything from Y2K? Do you remember (or know) the millennium bug, ICQ and 56K? The internet is undoubtedly the most influential technology of recent times. “At the time I wrote this film the internet was just starting to become popularised. It was before anybody really had a full idea of what effect it was going to have on our daily lives.” Keeping his finger on the pulse, Japanese director Kurosawa Kiyoshi carves a spiritual totem of early 21st century mankind with Pulse (2001), foreseeing how the internet would erode the hearts of modern humans. “Maybe it was the effect that the turn of the millennium had on me. The more modern and developed our society is, the sense of alienation between people grows stronger and stronger.” Chinese Fifth Generation filmmaker Tian Zhuangzhuang had a similar sentiment, but he chose to take a different route and remake a 1948 Chinese classic into Springtime in a Small Town (2002), getting away from the hustle and bustle and returning to the mysterious realm of the old days. As the new century approached, world cinema saw many new developments. The early 1990s saw the rise of many American independent filmmakers. Among them, New Queer Cinema pioneer Gregg Araki made the Teen Apocalypse Trilogy. Its middle chapter The Doom Generation (1995) taught Gen X to get high and has become regarded as a cult classic; in Germany, a group of graduates from the German Film and Television Academy Berlin – later labelled the Berlin School – quietly made their way into the spotlight of world cinema. Among them, Christian Petzold began the “Ghosts” trilogy with The State I am In (2000), outlining German history with new cinematic aesthetics; the Dogme 95 Movement may have begun in Denmark, but it managed to cross the Atlantic Ocean and inspired the then-unknown Sean Baker to make Take Out (2004) with his creative partner Shih-Ching Tsou for an extremely low budget, laying the foundation for his vérité cinematic style. Little did anyone know that he would achieve unrivaled success 20 years later by sweeping both Cannes and the Oscars for the same film. Just as people were looking forward to better days in a new century, conflicts that had been culminating for years exploded: The 9/11 attacks, the Israel-Palestinian conflict, the Iraq War...Many filmmakers chose to use their creative works to respond to the chaos. Palestinian director Elia Suleiman’s Divine Intervention (2002) satirises the Israel-Palestinian issue with absurd deadpan humour. Watching it again as the war continues to rage on in Gaza, the film still feels as on point as ever; made when he was over 90 years old, Portuguese maestro Manoel de Oliveira’s A Talking Picture (2003) uses a cruise ship that sailed in 2001 to speculate on the history of human civilisation and question the source of chaos all around the world; Mexican director Carlos Reygadas’s Battle in Heaven (2005) uses shocking images and sounds to paint a portrait of post-millennium Mexico City and dig deep into its class problems. It’s an interesting companion piece to the depiction of migrant workers in Take Out. With these eight films, we look back at the once-in-a-hundred-year “Turn of the Century”.
Battle in Heaven Critics Choice 2025
98 Minutes
Following a botched kidnapping attempt that left a child dead, the dark- skinned and obese chauffeur Marcos wrestles with guilt while becoming obsessed with his wealthy employer’s daughter Ana, newly returned from abroad and a dabbler in high-class prostitution. Opening with an explicit, slo-mo fellatio (scored ethereally to Tavener’s “The Protecting Veil”), Reygadas’s provocative vision of social inequality scandalised audiences at Cannes with its potent mixture of religious feeling, avant-garde shock tactics, the autobiographical blending of documentary and fiction (Reygadas cast his own family driver as Marcos while Ana is a well-to-do nonprofessional), and sheer cinematic spectacle. Marcos’s journey towards redemption through sin takes viewers on a tour of Mexico City and its surrounding countryside that characteristically for the auteur juxtaposes the sacred and the profane, with a notable accent on the disposable ugliness of the mundane. While Reygadas’s lurid sensationalism may leave him open to charges of exploitation, the film appears in retrospect prophetic not only of our present world divided between the haves and the have nots, but of the cinema it has inspired, whose opposing paradigms must be ROMA (2018) and PARASITE (2019) – visions poised between hope for reconciliation and fear of retribution.Post-screening talk in Cantonese with journalist Jacky Lin & film critic Derek
Lam.
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Take Out Critics Choice 2025
88 Minutes
With Sean Baker’s ANORA (2024) winning an unprecedented four Academy Awards, we look back at his creative trajectory, going all the way back to when he first found the independent spirit with his longtime collaborator Shih-Ching Tsou. Made for only US$3,000 and with a MiniDV camera, Baker and Tsou wrote, shot, directed and edited this story of Ming, an undocumented Chinese immigrant struggling for survival in New York City. To pay off his debts, he delivers as many takeout orders as possible every day, but he eventually sees both the hot and cold of human nature. In this melting pot of a city, he is doomed to drift aimlessly like a lone boat at sea. Influenced by cinéma vérité and the Dogme 95 movement, Baker adheres to a style of realism here that has become his trademark, even foreshadowing the emotional reversal in the end of ANORA. Seeing the film’s approach to marginalised communities feels even more prescient 20 years later when we look at the delivery courier controversy in Hong Kong, as well as the plight of refugees in Europe and the U.S. Perhaps seeing Baker’s concern for the disadvantaged could give us a way to find solutions together.
With a 10–15-minute introduction in Cantonese by film critic Horace Chan.
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A Talking Picture Critics Choice 2025
96 Minutes
On a contemporary grand tour from Lisbon to India along the Mediterranean Sea, stopping at cities such as Marseilles, Naples, Athens, Istanbul, Cairo and Aden, history professor (Leonor Silveira) and her young daughter visit the most significant of historical sites – some of which now only remain as ruins.Encounters with interlocutors from different cultures and identities prompt them to muse on how the cradle of civilisation – The Mediterranean – was (and is) also the centre of evolving cultural conflicts, and the rise and fall of kingdoms and legends, while wars erupt in succession, and they debate the contradictions arising through the foibles and excesses of human intelligence.These reflections extend to modern time hegemony and idiosyncrasies in the dining table dialogue with the American cruise captain (John Malkovich) and his lady guests (Catherine Deneuve, Irene Papas, Stefania Sandrelli).Ostensibly presenting itself as a travelogue, with a splash of his distinguished formal inventiveness, the film holds dear the enduring variety of civilisation we have created for ourselves, and is a fable of the precarious circumstances of such abundance when civilisation itself is threatened.
With a 10–15-minute introduction in Cantonese by film critic Kiki Fung.
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Divine Intervention Critics Choice 2025
92 Minutes
The city of Nazareth is mainly inhabited by Arabs living under the Israeli occupation. Life seems to be peaceful here, but violence can be triggered at any time: Teenagers chase Santa Claus down and kill him; drivers curse at each other; neighbours toss trash at each other; an old man punctures a youngster’s football. Some are spectators while others beat people up, shoot guns and set fires, just like any other day. Israel sets up a checkpoint between Jerusalem and Ramallah in Palestine; after a son visits his heart attack-
stricken father in the hospital, he goes to the checkpoint for a silent date with his lover, who is in the Ramallah side. As the pressure cooker nears breaking point, a red balloon with Yasser Arafat’s face floats across Jerusalem, and a female ninja fights Israeli soldiers. Writing, directing and starring in the film, Palestinian filmmaker Elia Suleiman portrays everyday reality in Israel and Palestine using absurd surrealism, denouncing the cruelty and injustice of the occupation. The Cannes jury led by David Lynch fell in love with the film, making it the first Palestinian film to win a major award at one of the “Big Three” European film festivals.
With a 10–15-minute introduction in Cantonese by film critic Timmy Chen.
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Pulse Critics Choice 2025
119 Minutes
Welcome to the internet. Riding on the wave of J-horror brought on by RING (1998), Kurosawa Kiyoshi follows technological trend by updating an age-old formula for a new era. After all, a virus attached to a video tape can’t possibly infect people more effectively than an invisible virus spread on the internet. As the apocalypse is spread in the blink of an eye, it turns out that driving force isn’t hatred, but loneliness and the inherent emptiness of modern civilisation. Like the dots that appear in the film without a line connecting them, bizarre clues don’t bring us any closer to the truth. Flesh and blood on the wall suddenly become a dark two-dimensional shadow as invisible phantoms become tangible through internet broadband cables. The sinister presence hiding in an abandoned space slowly appears in front of our eyes. Continuing the use of experimental lighting and sound editing techniques of CURE (1997) and SÉNANCE (2000), this film opens a door to spiritual experiences for the Asian successors of slow cinema in the new century.
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The Doom Generation Critics Choice 2025
83 Minutes
“Sex. Mayhem. Whatever.” —Tagline of THE DOOM GENERATION
While searching for bigger highs while travelling from “Hell” nightclub to“Heaven” drive-in theatre, Amy and Jordan’s hazy night is rudely interrupted by handsome drifter Xavier, who forces himself upon the couple as a third wheel. Like a walking disaster, Xavier creates death even while shopping in a convenience store. Now forced to run from the law with Xavier, Amy and Jordan are caught in a spiral of absurd violence and intense sex on the road.New Queer Cinema pioneer Gregg Araki’s first independent project with a considerable budget boasts a collage of miscellaneous iconographies – Dr.Martens boots and samurai swords; the American national anthem and shoegaze; and Doritos chips and Diet Coke – to show the untamable wills of its three protagonists. Riding across the desolate empty landscape of California, three souls with no future create a brief but timeless spark before inevitable doom. Still as provocative and shocking as when it was first released, the film doesn’t set out to please audiences; it stings them(thrillingly) and asks a pressing contemporary question: “Where is our future?”
With a 10–15-minute introduction in Cantonese by music critic Yuen Chi-chung & film critic David Chan.
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The Met: Live in HD 2024/25 Season

The Met: Live in HD presents high-definition screenings of opera performances in the Metropolitan Opera House, one of the best opera houses in the world. Its dazzling productions are filmed by 14 different cameras in high-definition format and transmitted to cinemas across the world. The Metropolitan Opera pioneered live HD movie-theatre simulcasts in 2006. The acclaimed performances now reach over 2,000 venues in 70 countries and receive rave reviews. The impact of the live performance remains spectacular on screen. For The Met: Live in HD 2024-25 season, Emperor Cinemas brings the Hong Kong premieres of Puccini’s Tosca, one of Puccini’s most well-known masterpieces, this season featuring extraordinary soprano Lise Davidsen as the iconic title role with David McVicar’s thrilling production. Another premiere is Verdi’s Aida, with this season's grand new production bringing audiences inside the towering pyramids and gilded tombs of ancient Egypt with varied stage presentations and an assembly of singers at the height of their powers. More classic titles include Offenbach’s Les Contes d’Hoffmann, Jeanine Tesori’s Grounded, Beethoven’s Fidelio, Mozart’s Le Nozze di Figaro, Strauss's Salome, and Rossini's Il Barbiere di Siviglia. Now available at Entertainment Building and Emperor Cinemas Plus+ (THE SOUTHSIDE).

The Met: Live in HD presents high-definition screenings of opera performances in the Metropolitan Opera House, one of the best opera houses in the world. Its dazzling productions are filmed by 14 different cameras in high-definition format and transmitted to cinemas across the world. The Metropolitan Opera pioneered live HD movie-theatre simulcasts in 2006. The acclaimed performances now reach over 2,000 venues in 70 countries and receive rave reviews. The impact of the live performance remains spectacular on screen. For The Met: Live in HD 2024-25 season, Emperor Cinemas brings the Hong Kong premieres of Puccini’s Tosca, one of Puccini’s most well-known masterpieces, this season featuring extraordinary soprano Lise Davidsen as the iconic title role with David McVicar’s thrilling production. Another premiere is Verdi’s Aida, with this season's grand new production bringing audiences inside the towering pyramids and gilded tombs of ancient Egypt with varied stage presentations and an assembly of singers at the height of their powers. More classic titles include Offenbach’s Les Contes d’Hoffmann, Jeanine Tesori’s Grounded, Beethoven’s Fidelio, Mozart’s Le Nozze di Figaro, Strauss's Salome, and Rossini's Il Barbiere di Siviglia. Now available at Entertainment Building and Emperor Cinemas Plus+ (THE SOUTHSIDE).
Beethoven's Fidelio (The Met 2025)
199 Minutes
Following a string of awe-inspiring Live in HD performances, Norwegian soprano Lise Davidsen returns to the Metropolitan Opera as Leonore, the faithful wife who risks everything to save her husband from the clutches of tyranny in Beethoven’s Fidelio. Completing the distinguished cast is British tenor David Butt Philip as the political prisoner Florestan, Polish bass-baritone Tomasz Konieczny as the villainous Don Pizarro, veteran German bass René Pape as the jailer Rocco, Chinese soprano Ying Fang and German tenor Magnus Dietrich as the young Marzelline and Jaquino, and Danish bass Stephen Milling as the principled Don Fernando. Susanna Mälkki conducts the Met’s striking production, which finds modern-day parallels in Beethoven’s stirring paean to freedom.
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Mozart's Le Nozze di Figaro (The Met 2025)
250 Minutes
Mozart’s timeless comedy returns to cinemas worldwide with a live transmission from the Metropolitan Opera. Conductor Joana Mallwitz, in her Met debut, takes the podium to conduct a stellar ensemble cast including American bass-baritone Michael Sumuel as the clever valet Figaro, Ukrainian soprano Olga Kulchynska as the wily maid Susanna, Canadian baritone Joshua Hopkins as the skirt-chasing Count, Italian soprano Federica Lombardi as his anguished wife, and French mezzo-soprano Marianne Crebassa as the adolescent page Cherubino.
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Strauss's Salome (The Met 2025)
150 Minutes
Met Music Director Yannick Nézet-Séguin takes the podium to conduct Strauss’s one-act tragedy. Leading the company’s first new production of the work in 20 years, Claus Guth, one of Europe’s leading opera directors, gives the biblical story a psychologically perceptive Victorian-era setting. South African soprano Elza van den Heever leads a celebrated cast as the abused and unhinged antiheroine, with Swedish baritone Peter Mattei as the imprisoned prophet Jochanaan; German tenor Gerhard Siegel as Salome’s lecherous stepfather, King Herod; American mezzo-soprano Michelle DeYoung as his wife, Herodias; and Polish tenor Piotr Buszewski as Narraboth.
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Rossini's Il Barbiere di Siviglia (The Met 2025)
228 Minutes
Rossini’s effervescent comedy retakes the stage in Bartlett Sher’s madcap production. Russian mezzo-soprano Aigul Akhmetshina headlines a winning ensemble as the feisty heroine, Rosina, alongside American tenor Jack Swanson, in his Met debut, as her secret beloved, Count Almaviva. Moldovan baritone Andrey Zhilikhovsky stars as Figaro, the ingenious barber of Seville, with Hungarian bass-baritone Peter Kálmán as Dr. Bartolo and Russian bass Alexander Vinogradov as Don Basilio rounding out the principal cast. Giacomo Sagripanti conducts Bartlett Sher’s madcap production.
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