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Ciao UFO takes top prizes at Hong Kong Film Awards as Sons of the Neon Night glows

Patrick Leung and producers Amy Chin and Bonnie Wong with the best film award for “Ciao UFO”. Photo: Edmond So

Ciao UFO, a sci‑fi drama inspired by a local urban legend of mysterious lights over a public housing estate, clinched the top honours at the Hong Kong Film Awards on Sunday night, winning best film and best director for Patrick Leung Pak‑kin.

The dystopian crime thriller Sons of the Neon Night emerged as the biggest winner, taking home eight prizes out of 12 nominations.

Among those sharing the limelight at the ceremony in the Cultural Centre in Tsim Sha Tsui was veteran Tony Leung Ka‑fai, named best actor for his role in The Shadow’s Edge. Leung had already claimed four best actor titles in past editions. Leung burst into tears as he ended his speech.

Patrick Leung and producers Amy Chin and Bonnie Wong with the best film award for “Ciao UFO”. Photo: Edmond So
Patrick Leung and producers Amy Chin and Bonnie Wong with the best film award for “Ciao UFO”. Photo: Edmond So

Malaysian-born Fish Liew Chi-yu picked up the best actress prize for her performance in Someone Like Me – her first win for her leading role. She dedicated the award to her parents, saying they never doubted her decisions or voiced objections.

Michelle Wai, last year’s best actress winner for The Last Dance, took home the award in the best supporting actress category this time for her role in Ciao UFO.

“I got this role when I was in a stage so lost seven years ago. I cherished the chance but was so worried I couldn’t do it well enough. Now I’m glad I can stand here on this stage because of this role, it’s an answer to the person I was seven years ago,” Wai said.

Michelle Wai scooped the best supporting actress award. Photo: Edmond So
Michelle Wai scooped the best supporting actress award. Photo: Edmond So

Singer-actor Alex To Tak‑wai won the best supporting actor prize for his role in Sons of the Neon Night. To plays a morally conflicted figure caught in Mak’s apocalyptic crime thriller, set against a snow‑covered, dystopian Hong Kong. His performance stood out for its restraint and gravitas.

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