EYE IN THE SKYBo's job is watching. At the Criminal Intelligence Bureau of the Hong Kong Police Department, the young woman observes criminals. In her very first case, she's confronted with the inscrutable mastermind of a jewelry theft. A dangerous game of cat and mouse begins in the streets of Hong Kong Central, which unavoidably throws the rookie off.
Soon the spectator catches himself playing detective. The refined screenplay puts the visible and the audible into question, plays with the variables. And the staging gets increasingly wild. Zooms, pans, nervous cuts bring an intensity to the story's feverish atmosphere without distracting from the essential question: Is it humanly possible to remain an uninvolved spectator? Bo can't keep her cool, she intervenes in the story, makes mistakes. Eye in the Sky becomes a parable of the cinema and its emotions. Watching means taking part, and the spectator writes his own story. Yau Nai Hoi's directorial debut is deeply in debt to genre movies, but it finds a strikingly personal and original approach.