Thursday, March 7, 2019


By Matt Taylor
Asian Pop Weekly
When it comes to defining who is the Queen of Mandopop or Queen of Cantopop, debates can be heated as fans fight for their favourite to wear the prestigious crown. There are very few who have credible claim to these revered titles, and one of that small handful is Sandy Lam林憶蓮. Since her debut Cantonese album in 1985, Sandy has gone on to be a defining figure in Chinese-language music. What has always set her apart from her peers is not just her incredible commercial success; but her ability to transform, and willingness to step outside of the frameworks of the genre and industries in which she operates.
With the news that Sandy plans to bow out of the music world, now seems the appropriate time for us to take a look back at her astonishing career, and at how she’s shaped and influenced the worlds of Cantonese & Mandarin music. How did a teenage part-time DJ become one of the most prolific Chinese-language artists of the 20th and 21st centuries?
Whilst surprising, Sandy was in fact not a breakout success. Her first two albums and corresponding imagery were heavily influenced by the Japanese idol craze. Yet despite the popularity of this style in Hong Kong, Sandy failed to strike a chord with the general public. It wasn’t until her fourth album that she truly piqued the interest of locals by introducing Eurodance to a Hong Kong audience on Grey 灰色 (1987), and evidenced her ability to transcend genres on the jazz-influenced Ready (1988).
At this make-or-break stage of her career, it was the City Rhythm 都市觸覺 series that really launched her into the big leagues, where she has remained ever since. A trilogy of records released between 1988 and 1990, City Rhythm gave Hong Kongers a taste of her true musical and conceptual capabilities, going platinum in the process. Serving as Executive Producer, the albums were filled with glossy dance-pop bops and ballads originally recorded by Western artists. The records were much more than this though: City Rhythm was the first successful execution of a concept record in Cantopop. Lyrically daring, the series was profoundly feminist; representing the female experience of life and love on the busy Hong Kong streets, and embodied a woman who refused to compromise her aims and desires, with each song taking on a specific aspect of life.
The song selection was also interesting: where Anita Mui梅艷芳 covered songs by the likes of Sheena Easten, and Sally Yeh葉蒨文recorded hits by Madonna, Sandy went after the songs of new artists such as Martika and Taylor Dayne, positioning her as a fresh and youthful alternative. Through this series, Sandy was not only able to encapsulate the glitz & glamour of 1980s Hong Kong and golden-era Cantopop, but also embody its youthfulness and ambition. A collection of corresponding remix records solidified her as Hong Kong’s dancing queen.
If it was this series that catapulted Sandy into superstardom, it was coming-of-age album Wildflower野花 (1991) that solidified her as an indispensable character of Cantopop. With wildflowers being a metaphorical representation of the mental journey of a modern East Asian woman, Wildflower was a stunning collection of contemporary east-meets-west music. Marrying traditional themes and western jazz influences, Wildflower not only made people truly recognise the versatility and artistic talent of Sandy, but initiated the ‘Unplugged’ craze of early 90s Cantonese music – the creation of authentic and raw musical products that connected with the listener more intimately.
Although reception was at first lukewarm, it was eventually recognised as a pioneering work in the Cantonese musical canon, and is now rightly regarded as one of the most important and culturally defining albums of Cantopop.
Simultaneously, Sandy was establishing herself as a formidable force in Taiwan and the world of Mandopop. Her debut Mandarin language album, Home Again Without You (1990), was not only a huge commercial success selling over 600,000 copies in Taiwan alone, but was seen as a watershed moment in Cantopop: the success prompted many Hong Kong musicians to test the waters of Mandopop, ushering in the start of Taiwan’s regional dominance in pop music.
Whilst her first two Mandarin albums were essentially cover records of earlier Cantopop escapades, it was Love, Sandy (1995) that was a game-changer. A ten-track collection of power ballads, love songs and R&B-inspired pop, the album was a commercial blockbuster selling 800,000 copies in Taiwan and over 3 million across Asia, cementing her in new markets including Singapore and China. Almost every song became a hit record, with many becoming KTV standards. To date it remains one of the best-selling albums in Mandopop history.
Such staggering success clearly caused Sandy to consider where her resources were best spent. Upon release of 14th Cantopop album Feeling Perfect感覺完美 (1996) Sandy refused to return to Hong Kong to promote the record. This disconnect with the industry, coupled with the sun-setting on the golden era of Cantopop, meant that it would be almost ten years until her next and final original Cantonese album: True Colour本色. Sandy’s decision was not one she made alone: the mid 1990’s is often noted as the start of Cantopop’s declining years, spurred on by the opening of larger Mandarin-speaking markets and the spread of file-sharing and digital piracy (coupled with the economic impact of the Asian Financial Crisis on Hong Kong).
Sandy continued to release a steady stream of Mandarin albums into the mid-00’s, honing her capabilities and continuing to push herself creatively, making her a staple of the Mandopop scene in Taiwan and beyond. Works during this time included Clang Rose鏗鏘玫瑰 (1999), critically praised for being avant-garde yet commercially viable, and Sandy Lam’s林憶蓮’S (2000) which included mega-hit At Least I Still Have You至少還有你. From a lyrical perspective, Sandy took on a greater song-writing role for the first time on Truly… Sandy原來…林憶蓮 (2001), where she co-wrote almost half the album.
Following the Breathe Me呼吸 (2006) album, it would be over six years until we heard from Sandy again on record. Using this time to tour, Sandy also considered next steps for her music. Despite immense popularity, the femme fatale has never been one to let trends lead her music; rather, she follows her own creative ideas and inspirations. Whilst this may at times have fallen into the realms of what was popular at the time, it was not an intentional effort.
From 2009, Sandy slowly began working on an album that she wanted to be different from anything she had done previously. Feeling that she had fallen into a vicious circle of releasing music she considered bland and safe and being too reliant on other producers and songwriters, Sandy wanted to make a fundamental change to the way she made music.
Saying that she felt like a new artist after such a long period of absence, in 2012 Sandy released Gaia蓋亞. Titled after the Goddess of earth in Greek mythology, Gaia was a concept record which saw Sandy take on the guise of mother-nature herself, and saw Sandy lament at what humans have done to the world. Filled with themes of nature, life and faith, the record was boldly experimental and a world away from previous releases, aligning her more with Tori Amos/Bjork than the pop icons she was compared to previously.
The risk of releasing such a potentially polarising record was ultimately worthwhile: Gaia was praised not only as a triumphant comeback, but held up as a landmark album in Mandopop. Lauded by critics as a forward-thinking and ground-breaking record, she was awarded several Golden Melody awards in 2013, including the coveted Best Album Award.
Sandy continued to challenge herself in other avenues, for example in 2017 she was a surprise entrant in Chinese televised singing competition Singer (spoiler alert – she won), which introduced her as a pop icon to a whole new generation of Mandopop fans.
She even returned to Cantopop briefly, harking back to her early days by releasing two albums of cover songs from 1980s Hong Kong (Re:Workz in 2014 and In Search of Lost Time 陪著我走 in 2016 respectively), giving the tracks a new lease of life by adapting the songs to different styles and genres.
After over thirty years in the industry, it’s perhaps no surprise that retirement has crossed Sandy’s mind. Having cemented herself as a piece of living history in both Cantopop and Mandopop, the increasingly intermittent album releases, coupled with her not being shy about how much she wants to travel the world and improve her cooking skills has made it clear that Sandy feels that now may be the time to bow out with grace.
In what may very well be the swan song of Sandy Lam, 0 was released at the end of 2018. Three years in the making, 0 continued Sandy’s path of challenging herself musically. A deeply emotional yet analytical affair, 0 is a record that tries to understand and explain the many concepts of zero, including the idea of beginnings and endings. Whilst 0 may be a more subdued affair than Gaia, the record was anything but conservative.
Sandy Lam has never been one for complacency. Throughout her 33 year career, she has cemented herself as one of the most revered and universally loved figures in Chinese-language music; not by following trends or being fixated on growing her career, but instead by focusing on making music that makes her artistically content and - most of all – happy. From dancing diva to mother earth, if this truly is our time to say good-bye to Sandy Lam, then we must thank her: not only for her contributions to music, but for being one of the key forces and defining figures of Mandopop and Cantopop in their most exciting years.
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【英文碟評】Sandy Lam林憶蓮 - 0 (2018)

By Matt Taylor
Asian Pop Weekly
Album Name: 0
Release Date: December 28, 2018
Sandy Lam林憶蓮 has never been one for complacency. Throughout her 33 year career, she has cemented herself as one of the most revered and universally loved figures in Chinese-language music not by following trends or being fixated on growing her career, but instead by focusing on making music that makes her artistically content and - most of all - happy.
​Three years in the making, 0 is Sandy’s first original album since 2012’s Gaia 蓋亞, a forward-thinking and ground-breaking record that stormed the 24th Golden Melody awards, praised by judges as a landmark release in Mandopop. Released under negligible promotional-fanfare, new album 0 became an unexpected hit at the end of 2018, perhaps in part due to Sandy announcing her retirement. If this is her last release, is Sandy going out on a high note?
0 is a concept record that takes on several meanings. Zero can be seen as the beginning and as the end. Everything, from ourselves to the universe started from nothing, and will one day become nothing again. Zero is a unique idea which can somehow express the freshness and excitement of a new beginning, whilst also representing absolute finality. Whilst this feels somewhat bleak, new endings provide new opportunities - perhaps evidencing that her retirement is something that she wants to address.
It is also interesting that the album has no physical copy available to purchase, and exists solely on the internet. Does the lack of a physical existence imply a lack of being?
English-language opener breathe in… breathe out feels therapeutic, with a chorus repeating the mantra over and over again. Whilst breathing itself may be trivial, to do such a trivial thing is the fundamental basis of survival. The simplicity of the song captures the vulnerability of humanity.
Closer Breathe Out, Breathe In一呼…一吸 - the direct Mandarin language version of the opening track - reaffirms the circularity of life. This poses a question to the listener: Was the journey ultimately worth it? Are we in a new place, or back to where we started? The song gradually builds, hinting that whilst we may be at an ending, our journey was not in vain, and fades out as if we are beginning the next chapter of our lives.
The most sonically adventurous song on the record, Charm 魅惑 effortlessly flutters between tempos whilst flickering between traditional Chinese instrumentation and grand Western strings over a post-industrial ambient drum and bass style that wouldn't sound out of place on a 90s Bjork album. Sandy's falsetto and harmonies are ethereal as she sings about the falling of societal facades.
Core 沙文 deals with the topical subject of gender discrimination and inequality. Interestingly, all that worked on the song are men (including an appearance in the chorus by Mayday’s五月天 Ashin阿信), implying that this is a topic that all of society must stand behind. Over snarling guitars Sandy is able to vocalize the anger and frustration of all women against the unfairness of society.
Return to Zero 歸零, which may be considered the most ordinary sounding song on the album, is anything but ordinary. Over what feels like a cross between country music and alt-90s female led rock, Sandy quite literally screams about the unrelenting disappointment of life and its constant blocking of hope. To be happy, we have to press the reset button on our lives and start again.
The album is full of highlights beyond the aforementioned songs. Solar System 太陽系 is an atmospheric electric-guitar led journey into space comparing relationships to the scientific distance between planets, whilst Morning Light 晨光 is an ode to the power of love surviving separation. Where Angels 纖維, whilst musically light, deals with the heavy topic of confronting death, River is an ode to individual droplets of water joining together to create something much bigger.
The album is so impressive at what it does that it’s very difficult to find any qualms to bring up. It comes down to personal preference that the subtlety of the record is less preferred compared to the striking and harsh tropes employed on Gaia. To fully appreciate the complexities of 0, the listener is required to offer their full attention. By doing so however, they get to experience a breath-taking soundscape, filled to the brim with subtle yet unforgettable melodies, whilst enjoying lyrics that seamlessly weave between broad, thought-provoking issues whilst being extremely intimate. On the albums most vulnerable moments, her voice is like another layer of instrumentation, adding to the vulnerability on display.
After Gaia, we would have understood if Sandy returned to a more conservative and traditional output. Whilst 0 may be a more subdued affair and dealing with less adventurous topics, it is anything but conservative. A deeply emotional yet analytical affair, if this truly is the swan song of Sandy Lam, it is a tremendous exiting gesture, and is the cherry on top of a career that very few – if any – can rival.
1. breathe in... breathe out
2. Solar System 太陽系
3. Angels 纖維
4. Morning Light 晨光
5. Rivers
6. Core 沙文
7. Return to Zero 歸零
8. Hallucinating Animals 幻覺動物
9. Charm 魅惑
​10. Breathe Out... Breathe In 一呼...一吸
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Wednesday, March 6, 2019


《新京報》訪問 (節錄) - 巡迴演唱會“My Beautiful Live”3月底啓航,人生走進45歲,因為兒子變得柔軟,卻不允許工作“差不多”楊千嬅 人生走下去 我與春嬌都會是聰明媳婦
隨著生活重心的轉變,楊千嬅承認,相對從前,自己的工作腳步已經慢下來不少,簽約先生丁子高的公司也方便她掌控自己的步調,但徹底遠離舞台?現在不會發生。“一個女人不能完全不工作。像Britney Spears、Jennifer Lopez,其實也都沒有放慢腳步,一直到現在都在舞台上成長。我為什麼有這個想法?因為有一天我在家裡電視上看到林憶蓮演唱會。她講了一句話很鼓舞我,她說每個歌手不是自己在成長,而是需要不斷在舞台上成長。我也看了她上《歌手》,一直在給我驚喜。那一刻,我就覺得自己還有很多東西不懂。在舞台上,歌手的野心永遠不會斷。”

Tuesday, March 5, 2019

【國語十大之冠】華語金曲獎 : 林憶蓮《0》

#華語金曲獎2018年度十大華語唱片# 國語十大:
3、艾怡良 《垂直活著水平留戀著》
6、胡德夫_Ara_Kimbo 《時光》
10、陳綺貞 《沙發海》
#華語金曲獎2018年度十大華語唱片# 粵語十大:
2、Juno麥浚龍/謝安琪《THE ALBUM》
3、譚詠麟 《音樂大本型》
4、 盧冠廷《Movie to Music》
5、林一峰 《Travelogue 4 Escape》
7、黃凱芹 《十里春風》
8、SupperMoment 《dal segno》
9、李幸倪 《Bold & Beauty》
10、周柏豪 《Allt er ást》

林憶蓮、陳奕迅國、粤冠軍 ——“華語金曲獎”揭曉“2018年度十大華語唱片”
本次活動由華語文化國際有限公司榮譽出品、華語音樂工作者之協作推廣機構“全球華語音樂聯盟”主辦,邀請全球專業樂評人、DJ、音樂人、唱片收藏家共同選出,目的在於延續《音像世界》、《音樂花園》等媒體十多年來都邀請樂評人評選年度十大唱片的傳統,此次站在全球華人的更高視野,以專業眼光提升歌迷的欣賞素質,推動華語音樂的繁榮進步。評審機制是:評委每人依次1-10選出自己的十張最愛的2018年度出版的華語專輯(不含精選集,且專輯內華語歌曲不得少於5首),第10名計1分,第9名1.5分,依次類推第1名5.5分,總分最高的10張國語和粵語唱片自動成為“年度十大國語專輯”和“年度十大粵語專輯”,其它語言的專輯(如客語、閩語、民族語等)將在年度的單項獎另外評選。 (2018年度12個月的月度十佳華語唱片自動成為候選專輯,評委亦可投選其它專輯)


粵語十大仍然為香港包攬,其粵語流行樂中心的地位不可撼動。今年的十佳專輯異常注重原創,僅2張為翻唱作品,證明粵語流行曲仍然與時代同步。五代歌手齊齊發力,第一代的譚詠麟、盧冠廷,第二代的黃凱芹,第三代的陳奕迅,第四代的林一峰、謝安琪、麥浚龍,第五代的周柏豪、李幸倪、Supper Moment,從流行、搖滾、民謠到HIFI,體現不同的質感。

1、林憶蓮《0》 39
2、蔡依林《UGLY BEAUTY》 28
3、艾怡良《垂直活著水平留戀著》 27
4、莫文蔚《我們在中場相遇》 25
5、莫西子詩《月光白的很》 22
6、胡德夫《時光》 21.5
7、許茹芸《綻放的綻放的綻放》 21.5
8、許巍《無盡光芒》 19.5
9、李榮浩《耳朵》 16
10、 陳綺貞《沙發海》 13

1、陳奕迅《L.O.V.E.》 43.5
2、麥浚龍/謝安琪《THE ALBUM》 28.5
3、譚詠麟《音樂大本型》 26.5
4、盧冠廷《Movie toMusic》 24.5
5、林一峰《Travelogue4 Escape》 24
6、群星《環球高歌陳百強》 22.5
7、黃凱芹《十里春風》 14.5
8、Supper Moment《dal segno》 12.5
9、李幸倪《Bold & Beauty》11
10、 周柏豪《Allt er ást》10

1、 林憶蓮《0》:0既是起點,又可以理解成無限大……恭碩良、常石磊的標準配置又增添吳青峰和五月天阿信,林憶蓮音樂在世界化的同時也年輕化。

2、 蔡依林《UGLY BEAUTY》:浩大的選歌工程從技術角度和數學邏輯上保證了曲風的多樣和新奇。這是屬於很蔡依林式的態度表達。

3、 艾怡良《垂直活著水平留戀著》:出道以來首張全創作專輯,流行元素十足卻絲毫並不偽裝做作與俗氣。成熟的專輯作品。

4、 莫文蔚《我們在中場相遇》:用上下半場的概念進行講述,然而題卻為在中場相遇,遇見各種樣子與狀態的莫文蔚,其實也就是遇見各樣的自己。

5、 莫西子詩《月光白的很》:較之曾經的原始張力與人文精神探索,這張並不深邃或故作深邃。不過,當下環境下仍屬於比較精彩的一張音樂專輯作品。

6、 胡德夫《時光》:跨越時空再度聚首,知音重逢的詩歌盛宴。六十八歲的胡德夫與二十歲胡德夫的對話,娓娓道出五十年來歲月積累的風霜與思念。

7、 許茹芸《綻放的綻放的綻放》:華語天后加盟索尼音樂首張專輯,延續她本世紀以來一直的唯美、婉約、華麗、深情,一直穿越的是完美的芸氏唱腔。

8、 許巍《無盡光芒》:從上張專輯的出世恬靜,轉向火熱的生命能量,每一個音符、歌詞都擁有真摯無比的情感和強大的人文精神。

9、 李榮浩 《耳朵》:李榮浩的第五張專輯,十首全新創作歌曲,仍然非常李榮浩風格。這樣的風格目前依然可以橫行在當前的需求線之上。

10、 陳綺貞《沙發海》:沒有“華麗的冒險”的紛繁電音,更多回歸早期陳老師的質樸和知性,簡約通靈的聲音更通向內心浩瀚的“沙發海”。

1、 陳奕迅《L.O.V.E.》:8首廣東2首國語1首英文歌,專心打造關於愛的十一個故事,由DUO BAND的旅程展開無限可能,E神的演繹多變而深沉。

2、 麥浚龍/謝安琪《THE ALBUM》:以電影概念推出的文學性作品,男女各半的敘事結合成完美的戲劇性,它將港樂內涵提升到新的境界,叫好又叫賣。

3、 譚詠麟《音樂大本型》 :校長似乎真的永遠不會老,身體力行扶持後輩新人帶動粵語歌原創新浪潮,這是他堅持在流行音樂內容第一線的最好佐證。

4、 盧冠廷《Movie to Music》 :將自己80、90年代創作的電影主題曲及配樂,化作全新旋律加以拓展成全新面貌,把電影原創音樂昇華至更高層次。

5、 林一峰《Travelogue 4 Escape》:第十八張個人專輯,始終把旅途上種種與大家分享,用片段逐一完成精美小品,屬於城市、屬於城市裡的每一個人。

6、 群星《環球高歌陳百強》:陳百強誕辰六十週年,環球集合巨星重新演繹名曲並舉行紀念演唱會,同時代合作過或敬仰他的歌手獻出誠意的致敬。

7、 黃凱芹《十里春風》:在一張驚豔的原創粵語中國風專輯後回歸經典,來自與他同時代的巨星遺作經黃凱芹的深情演繹帶出穿越歲月的唏噓與感慨。

8、 Supper Moment《dal segno》:違睽2年後用自己的音樂記錄了這十二年來的點滴。 dal segno (連續記號,簡稱 D.S.)是樂譜符號,Supper Moment的創作歷程從 [dal segno] 從新出發,將最美好的呈現給大家。

9、 李幸倪《Bold & Beauty》:用都市女性的感性聲線,堅守在港樂這片領地之上,內心的倔強和跌宕的情緒起伏,用高水準的作品來說話,實屬難得。

10、 周柏豪《Allt er ást》:一張更加走向成熟男人的都市情感專輯,有“男人背後”的女人情懷,亦有“老少平安”的親情呼喚,值得一聽再聽。

林俊傑《偉大的渺小》 12.5
梁文音《副駕駛座的風景》 12
周蕙《不被遺忘的時光》 10
袁婭維《TIARA》 9.5
竇唯《囈象》 9
陳粒《玩》 9
張傑《未 LIVE》 8.5
旺福《旺情歌》 7.5
Matzka 《Matzka Station》 7
岑寧兒 《Nothing isUnder Control》 6.5
容祖兒《答案之書》 6
蔡健雅《我要給世界最悠長的濕吻》 5.5
陳潔儀《A Time ForEverything》 5.5
蘇運瑩《幻》 5.5
徐小花《你有貓膩》 5
群星《搖滾唐朝三十年 演義我心中的唐朝》 5
祁紫檀《她走路的姿勢》 5
蕭敬騰《慾望反光》 5
李佳薇《相反的是》 4.5
白水《兒童樂園》 4
好妹妹《追夢人》 4
孫盛希《希遊記》 4
汪蘇瀧《克制凶猛》 4
杜德偉《起來》 3.5
李雨《浮世遊》 3.5
許嵩《尋寶遊戲》 3
曹芳《3170》 3
旅行團《感+》 2.5
黃綺珊《時光》 2.5
王心凌《Cindy Love 2Sing》 2
方拾貳《拾貳》 2
陳志朋《千面》 2
許鈞《事實上我沒有名字》 2
霍尊《玩樂》 2
上海彩虹室內合唱團《萬能圖書館》 1.5
張棟樑《最好的快要發生》 1.5
金池《我和我……》 1
龔琳娜《24節氣歌》 1

陳慧琳《Watch Me》 9
Cassette 卡式帶樂團《∞》 8.5
葉巧琳《The MakingsOf》 8.5
蔡一傑《ONE》 8.5
AGA《Luna》 7.5
吳業坤《Keep Going》 6.5
小肥《睡前服》 5.5
陳輝陽x女聲合唱《上一次流淚》 5.5
RubberBand《Hours》 5
孫耀威《Hysteric》 5
V.A.《年華說 城歌唱》 4.5
許廷鏗《Alfred Hui》 4.5
HANA菊梓喬《但願人長久》 3.5
胡琳《Moments》 3
梁釗峰《閃亮的青春》 2.5
林奕匡《A TOUCH OF》 1.5
黎瑞恩《V Touch》 1


Monday, March 4, 2019

【野花佇立】你最喜愛的林憶蓮大碟 (5日投票結果)

2391 Votes in 5 days
1. 野花 (292票 / 12%)
2. 夢了、瘋了、倦了 (279票 / 12%)
3. 0 (219票 / 9%)
4. 蓋亞 (175票 / 7%)
5. Faces & Places (139票 / 6%)
6. Love, Sandy (122票 / 5%)
7. Sandy '94 (92票 / 4%)
8. Open Up (85票 / 4%)
9. Ready (77票 / 3%)
10. 鏗鏘玫瑰 (70票 / 3%)
11. 本色 (69票 / 3%)
12. 夜太黑 (65票 / 3%)
13. 呼吸 (64票 / 3%)
14. 逃離鋼筋森林 (63票 / 3%)
15. 感覺完美 (61票 / 3%)
16. 灰色 (61票 / 3%)
17. 陪着我走 (56票 / 2%)
18. City Rhythm (56票 / 2%)
19. 不如重新開始 (49票 / 2%)
20. 回來愛的身邊 (44票 / 2%)
21. 原來… (39票 / 2%)
22. 林憶蓮'S (38票 / 2%)
23. 2001蓮 (37票 / 2%)
24. 不必在乎我是誰 (25票 / 1%)
25. Re-workz (23票 / 1%)
26. 愛上一個不回家的人 (20票 / 1%)
27. Simple (14票 / 1%)
28. 都市心 (14票 / 1%)
29. I Swear (11票 / >1%)
30. 憶蓮 (11票 / >1%)
31. 放縱 (8票 / >1%)
32. 林憶蓮 (7票 / >1%)
33. Wonderful World (6票 / >1%)


thank you sis #多謝家姐


第一名: 林憶蓮《歸零》
第二名: 謝霆鋒/王嘉爾《深淵》

#林憶蓮 #張國榮 #龍鳳智多星 #海洋公園 1984 #香港電影資料館

Cityscape in Sight and Sound
日期:1/2 - 5/5/2019
17/2/2019(日) 2:30pm
17/3/2019(日) 2:30pm


#激情 #愛的廢墟 #決絕 #灰色 #早晨 #住家男人


Sandy當年接受SCMP《Post Magazine》訪問的未曝光照片
date 19 Jan 2004
Photo by Ricky Chung / South China Morning Post via Getty Images