Fragmented Cities: Memories of a Possible Journey into the Night (Hong Kong 29:59)

Though ‘Fragmented Cities: Memories of a Possible Journey into the Night’ (Hong Kong) marks our first-ever season of film festival submissions in 2026, it is the culmination of a collaborative practice that began in a London, UK art school in 1984. It also very nearly ended soon after when during a 5-week art project photo-documenting a circuitous hitch-hiking journey around Europe from the UK to Greece, we were arrested as potential spies in Niš: now in Serbia but at that time part of Yugoslavia. We had been reported to the police by a member of the public for taking photographs too close to an unmarked restricted area near a railway yard. The impact and effect of that pivotally visceral experience profoundly shaped the nature and evolution of our practise from that point.



Without knowing the term then, we had begun an ongoing 40+ year psychogeographic investigation, exploring the notion and concept of defined location in actual and (re)imagined place; of concrete, intangible and invisible boundaries; in the veracity, unreliability, ephemeral and transient nature of memory and re-lived experience. We have since developed our visual language through experimental photography, printmaking, and sculpture and through a range of image making technology devices and tools, while living and working in global hubs like London, Amsterdam, Hong Kong, Beijing, Singapore, Mumbai, Abu Dhabi, Los Angeles, San Francisco, Montreal and Madrid.



In parallel from the late 80’s we worked with several seminal companies at the vanguard of the analogue to digital revolution—like ElectroGiG (3D modelling and animation/Amsterdam), Jaleo (NLE and compositing/Madrid) and Kaydara (motion control animation-MotionBuilder/Montreal), involved in developing the foundational production software tools and technologies for landmark and multi-award winning cinema projects at VFX and post studios like Digital Domain, ILM and Weta amongst many others. Throughout this period our personal art making remained a constant pursuit and it was during the stillness of the pandemic in the UK in 2020 that we were eventually able to turn our attention back to focus full-time on our practice.



Now based 'on the road' in SE Asia, alternating between our long time home in Hong Kong, and Da Nang in Vietnam, we have traded our knowledge of sophisticated production pipelines for a mobile, and portable digital studio. We have chosen to reject the "high-end" polish of modern cinema in favour of embracing the constraints and limitations of the widely available smartphone, pushed to the limits of their image capturing capabilities, and as a deliberate act of democratisation: with iPhone 15 Pro Max, MacBook Air and iMovie currently as our primary tools.



‘Fragmented Cities: Memories of a Possible Journey into the Night’ (Hong Kong), feels in some way like our ‘re-emergence’ as artists. Although it's our debut film, collectively and perhaps more complexly it carries 4 decades of distilled creative investigation, global movement and evolution in our technical knowledge, and subsequent rejection of that particular experience; into a single, ‘possible’ nocturnal journey through a deconstructed, and reimagined speculative cityscape. 



This exploration is anchored by an original score and soundscape from Hong Kong-based Australian composer Robert Ellis-Geiger, marking the latest chapter in a collaborative relationship spanning over 20 years. A Golden Bauhinia-nominated composer whose PhD research focused its investigation on Hollywood-informed scoring for Hong Kong cinema, Robert was most recently Associate Professor of Practice and Associate Director of the Academy of Film, at Asia’s leading film school, Hong Kong Baptist University (HKBU). Known for his scores for critically acclaimed directors—including Johnnie To (Election 2) and Patrick Tam (After This Our Exile), alongside multiple collaborations with Oscar-winning director Ruby Yang on documentaries including My Voice, My Life—his unique score and soundscape serve as the structural spine to our film, dictated by and responding to the same rhythmic logic as the visuals. His academic expertise in surround sound and technical mastery provides the essential sonic architecture required to translate our visual deconstruction into an immersive psychological interior.

‘Fragmented Cities: Memories of a Possible Journey into the Night’ (Hong Kong), serves as the first chapter and foundation for an ongoing, multi-city global anthology—a psychogeographic deconstruction and reimagining of the anonymised modern megalopolis through mobile image-making technology.