M+, Asia’s global museum of contemporary visual culture in the West Kowloon Cultural District (WestK) in Hong Kong, hosted ‘Why Restoration Matters? A Conversation with Tilda Swinton and T’ang Shushuen’ on 21 January 2025, an engaging conversation on the importance of heritage and innovation in cinema. The special event, which took place in the Grand Stair of the museum, marked a significant milestone as M+ announced M+ Restored, a groundbreaking initiative in partnership with CHANEL dedicated to preserving Hong Kong’s rich cinematic heritage.

Moderated by Silke Schmickl, CHANEL Lead Curator, Moving Image, M+, the event featured a conversation between Tilda Swinton and T’ang Shushuen, who emphasised the transformative power of film and filmmaking, sharing their respective journeys as filmmakers, observers, and passionate advocates for cinema. Swinton and Tang also reflected on the philosophical significance of film heritage and restoration, highlighting the delicate balance between preserving history and embracing innovation. Additionally, the speakers addressed the importance of Asian cinema and women’s vital contributions to film history.

T’ang Shushuen is a Hong Kong director whose internationally acclaimed debut film, The Arch (1968), was the first self-funded and independently released film in Hong Kong. T’ang went on to direct three more films: China Behind (1974), Sup Sap Bup Dup (1975), and The Hong Kong Tycoon (1979).

Tilda Swinton is universally acknowledged as a distinguished actor with extraordinary versatility and range. She has masterfully balanced roles in independent films and international blockbusters. Her illustrious career includes early arthouse collaborations and award-winning performances, including an Academy Award and a British Academy Film and Television Award (BAFTA). Beyond her acting accomplishments, Swinton is also a passionate advocate for film restoration and preservation.

Launched in July 2023 as part of a three-year partnership between M+ and CHANEL, M+ Restored celebrates the creative experimentation and technical innovation of Hong Kong New Wave, a film movement which emerged in 1979.Featuring influential figures such as Patrick Tam, Peter Yung, Yim Ho, and Allen Fong, who drew inspiration from European art cinema, Hollywood, and American independent films, the movement had a lasting impact on Asian filmmaking.

In recognition of this pivotal period, M+ will begin the initiative by restoring nine Hong Kong New Wave films. Three will be completed in 2025 and premiere at key international film festivals: The Arch (1968) by T’ang Shushuen, The System (1979) by Peter Yung, and Love Massacre (1981) by Patrick Tam. Each of these films represented a significant stylistic innovation and departure from the mainstream Hong Kong film industry. The Arch was the first self-funded and independently released film in Hong Kong. It was a precursor to the Hong Kong New Wave, which began in 1979. Singular in its production, editing, and cinematography, The Arch was at the vanguard of cinematic innovation and experimentation. Channelling its innovative spirit, a new generation of filmmakers, including figures such as Peter Yung and Patrick Tam, later forged their own path and gave rise to what became known as the Hong Kong New Wave.

Suhanya Raffel, Museum Director, M+, underscoring M+’s commitment to preserving film heritage, says, ‘The launch of M+ Restored represents a significant moment in our mission to preserve Hong Kong’s cinematic heritage. With CHANEL’s generous support, we ensure these vital cultural works continue to educate and inspire contemporary audiences. The restoration of these seminal films is not merely an act of preservation; it is our commitment to keeping Hong Kong’s cinematic legacy vibrant and engaging for future generations.’

Yana Peel, Global Head of Arts & Culture, CHANEL, emphasising CHANEL’s vision in supporting M+ Restored, says, ‘M+ Restored preserves Hong Kong's rich cinematic legacy and celebrates its central role in history so that it can be celebrated with global audiences for years to come. It carries forward the filmmakers' innovative and creative spirit and highlights the importance of women's vital contributions to film history in the region.’

Silke Schmickl, CHANEL Lead Curator, Moving Image, M+, contextualising the significance of the Hong Kong New Wave in the city’s cinematic history, says, ‘The Hong Kong New Wave represents a vital moment when local filmmakers revolutionised cinema through bold experimentation and technical innovation. Through M+ Restored, we are excited to embark on a new journey to engage our audiences with these groundbreaking works while fostering critical discourse about the enduring influence of Hong Kong cinema on contemporary visual culture.’

About Tilda Swinton

Tilda Swinton (b. 1960, United Kingdom) has lent her striking presence to a remarkable array of films, from low-budget, art-house offerings to international blockbusters. She began her career in theatre with the Royal Shakespeare Company before making her feature debut in Derek Jarman’s Caravaggio (1986). Swinton collaborated with Jarman on seven more films before his untimely passing in 1994. Over the course of her career, she has established ongoing partnerships with renowned filmmakers, such as Pedro Almodóvar, Wes Anderson, Bong Joon-ho, Joel and Ethan Coen, Luca Guadagnino, Joanna Hogg, Jim Jarmusch, and Apichatpong Weerasethakul.

Swinton has received numerous accolades for her work, including an Academy Award and a British Academy Film and Television Award (BAFTA) for Best Supporting Actress in Tony Gilroy’s Michael Clayton (2007), as well as BAFTA nominations for Best Leading Actress in Lynne Ramsay’s We Need to Talk About Kevin (2011) and Best Supporting Actress in Joel and Ethan Coen’s Burn After Reading (2008). In 2020, she was honoured with the Golden Lion for Lifetime Achievement at the 77th Venice International Film Festival, the same year the New York Times ranked her as one of the greatest actors of the twenty-first century.

Off screen, Swinton is committed to art-house film exhibitions, collaborating with filmmaker Mark Cousins to support mobile cinemas in Scotland. In 2022, she received the International Federation of Film Archives annual award for her advocacy of film heritage, public support of film archives, and promotion of restored films.

About T’ang Shushuen

T’ang Shushuen (b. 1938, Hong Kong) grew up in Hong Kong and graduated from the University of South California. Her first feature, The Arch (1968), was the first film made outside the industry and independently released in Hong Kong. It was also the first Hong Kong film that, following its European premiere and appearance in the Feature Competition section at the Locarno Film Festival, garnered critical acclaim and enjoyed a commercial release in France for several months. She made three more films, China Behind (1974), Sup Sap Bup Dup (1975), and The Hong Kong Tycoon (1979), and founded the film publication Close Up Magazine, which ran from 1975 to 1978. She then moved to the United States in 1979.

About M+

M+ is Asia’s global museum of contemporary visual culture. Located in Hong Kong’s West Kowloon Cultural District (WestK), it is dedicated to collecting, exhibiting, and interpreting visual art, design and architecture, moving image, and Hong Kong visual culture of the twentieth and twenty-first centuries. The landmark M+ building on Hong Kong’s Victoria Harbourfront was designed by the world-renowned architectural firm Herzog & de Meuron in partnership with TFP Farrells and Arup. It spans a total floor area of 65,000 square metres, featuring thirty-three galleries alongside a Learning Hub, Moving Image Centre, Research Centre, and Roof Garden, among other event and programming spaces. The M+ Facade is one of the largest LED screens in the world, showcasing commissioned artworks on the Hong Kong skyline every evening. The museum stewards a multidisciplinary permanent collection that includes objects from regions across Asia and beyond. A highlight is the M+ Sigg Collection, one of the world’s most extensive collections of Chinese contemporary art. Today, M+ is a nexus for researching and presenting contemporary visual culture, inspiring thought and curiosity.

About the West Kowloon Cultural District (WestK)

WestK is one of the largest and most ambitious cultural hubs in the world and Hong Kong’s new cultural tourism landmark, spanning forty hectares alongside Victoria Harbour. WestK comprises a mix of landmark arts and cultural facilities, including world-class museums M+ and the Hong Kong Palace Museum, intricately designed performing arts venues the Xiqu Centre and Freespace, the eleven-hectare Art Park with a waterfront promenade, and the forthcoming WestK Performing Arts Centre.

Hosting approximately 1,000 exhibitions, performances, programmes, and events each year, WestK provides a vital platform for both emerging and established artists. WestK welcomes more than ten million visitors each year, enriching the cultural influence of Hong Kong and strengthening the city’s strategic role as an East-meets-West centre for international cultural exchange.

About CHANEL Culture Fund

The CHANEL Culture Fund fosters a vibrant network of creators and innovators to advance the ideas that shape culture worldwide. Core programmes include CHANEL’s Art Partners, institutions whose leaders are supported in the development of ground-breaking, long-term initiatives that bring transformation to the cultural landscape. The CHANEL Next Prize celebrates artists and accelerates their future successes through access to resources and mentorship. And the podcast CHANEL Connects amplifies the voices of thought-leaders across disciplines, generations, and geographies tackling the defining issues of our time.

From emerging curators at the MCA Chicago to leading ecologists at the Leeum Museum of Art in Seoul, from game-changing artists at the Venice Biennale to the brightest directors at the British Film Institute, the CHANEL Culture Fund champions creative audacity for a better future and extends a century of commitment to the arts.