Johnnie To, a maestro of Hong Kong cinema, stands as one of the few remaining giants in the realm of genre filmmaking. His film career, spanning over four decades and some 70 films, encapsulates a versatility and professionalism almost unheard of in our era of microscopic specialization, overflowing the confines of crime thrillers to embrace a full range of genres, including romantic comedies, melodramas, and musicals.
A shrewd navigator within the Hong Kong film industry, To began his career at TVB, the local television broadcaster that provided the training ground for such greats as Wong Kar Wai, Ringo Lam, Ann Hui, Tony Leung Chiu-wai, and Andy Lau. His early film directorial efforts include popular comedies, featuring iconic figures like Stephen Chow and Maggie Cheung, that showcase his ability to blend broad, physical humor with sharp social commentary. Frustrated by market pressures and frequent encroachments on directorial autonomy, To and his creative partner Wai Ka-fai founded the production company Milkyway Image in the mid-1990s to craft films based on their personal vision. Established at a time when Hong Kong cinema was in decline following the departure of key talents like John Woo, Chow Yun Fat, and Michelle Yeoh to Hollywood, compounded by the Asian financial crisis and an altered political landscape with the former British colony’s reunification with China, To’s Milkyway adapted to a challenging environment and found a unique window for experimentation, as mainstream films could no longer guarantee box office success.
To thrives under financial and time constraints by relying on his creative instincts and spontaneous problem-solving. Often working without a complete screenplay and adapting throughout the production process, he created a series of highly original works, most notably by imbuing the crime genre with his signature blend of meticulous choreography, tension-filled narratives, and an innate sense of spatial dynamics. His scenes of chaos find an unusual injection of offbeat order and inner harmony. Unlike John Woo and Tsui Hark, who are known for their stylized, operatic violence, To’s films are grounded in a more psychological, street-level realism. Exiled (2006) exemplifies his ability to craft stories in which the staging of characters within meticulously designed spaces heightens drama and underscores thematic depth. His films abound with riveting, genre-defying surprises: no gunshot is fired in a film about the Hong Kong Triad (Election, 2005) and physical stillness is more pronounced than action in a film about underworld bodyguards (The Mission, 1999).
Another of To’s hallmarks is his intricate, multilevel storytelling, often characterized by elaborate plots in which the characters struggle to anticipate their opponents and navigate complex group dynamics. His ability to craft narratives that delve into the psychological interplay between characters, while simultaneously managing broader ensemble casts, sets him apart as a master storyteller.
This retrospective celebrates the full spectrum of To’s oeuvre, with representative films marking different periods of his career and encompassing multiple genres to present one of the most multifaceted and singular filmmakers of our time.
Organized by La Frances Hui and Dave Kehr, Curators, Department of Film. Thanks to To Kei-chi, Olivia Priedite, and Sabrina Baracetti, President, Udine Far East Film Festival.
Film at MoMA is made possible by CHANEL.
Additional support is provided by the Annual Film Fund. Leadership support for the Annual Film Fund is provided by Debra and Leon D. Black, with major funding from The Contemporary Arts Council of The Museum of Modern Art, The International Council of The Museum of Modern Art, Jo Carole and Ronald S. Lauder, the Association of Independent Commercial Producers (AICP), and The Young Patrons Council of The Museum of Modern Art.
