Imagine a small, vibrant circus rolling into the quiet countryside of rural England, not just bringing thrills and spills, but also transforming the life of a young woman forever. This is the captivating premise of High Wire, the feature debut from director Calif Chong, which recently premiered at the 69th BFI London Film Festival (LFF). But here's where it gets controversial: Can a circus truly offer escape and self-discovery, or is it just another form of entrapment? Let’s dive in.
High Wire follows Go-Wing, a young woman whose life feels predetermined—trapped between working at her father’s Chinese takeaway and endless studying. Beneath her dutiful exterior lies a deep loneliness and the fear of a life unfulfilled. When a traveling acrobatic circus arrives in town, Go-Wing seizes an unexpected opportunity, using a bit of accidental blackmail to join the troupe. There, she discovers a sense of community, artistic expression, and the promise of a future lived on her own terms. And this is the part most people miss: The circus becomes a metaphor for freedom, but it also raises questions about the sacrifices required to break free from societal expectations.
Co-written by Chong and Jackie Lam, the film stars Isabella Wei, Dominic Lam Kar Wah, and Jose Palma. Produced by Silent D Pictures in collaboration with Make a Difference Films and Ajamax Productions, the cinematography by Matthew P. Scott captures the circus’s dazzling energy and Go-Wing’s emotional journey. For a sneak peek, check out this film clip [insert link] to see the magic unfold.
Chong, primarily known for her work as an editor, brings a fresh perspective to her directorial debut. In a recent LFF press event, she shared her inspiration: “The circus was the perfect setting to explore an immigrant story rooted in the food business, something I experienced firsthand working in a Manchester Chinatown restaurant. I was chasing a career, not a dream—a distinction I feel strongly about.”
Isabella Wei, who landed the lead role after submitting a self-tape audition from Hong Kong, described the experience as “super-exciting.” She added, “It was beautiful to tell the story of someone from Hong Kong living in the U.K., blending cultural identity with physically expressive artistry.”
Casting Wei wasn’t easy, though. Chong admitted, “Finding someone bilingual who could also dance, rollerblade, and perform circus acts felt impossible. When I saw her tape, I thought, ‘God is saving me.’”
Matthew P. Scott, Chong’s partner and cinematographer, highlighted the technical challenges of filming the final high wire act. “It required extensive visual effects work, making it one of the hardest scenes to shoot,” he explained. Wei, however, found the emotional scenes in the takeaway more demanding. “Creating a believable father-daughter dynamic in such a confined space was a real challenge,” she noted.
High Wire isn’t just a story about circus life; it’s a thought-provoking exploration of identity, freedom, and the courage to redefine one’s path. Here’s a question to spark debate: Does Go-Wing’s journey represent true liberation, or is she simply trading one set of constraints for another? Share your thoughts in the comments—we’d love to hear your take!
