Written by Kianna Best on May 19, 2025. Posted in Interviews

Hong Kong Producers Ronan Wong and Debbie Lam Bring Innovation to Cannes

At this year’s Cannes Film Festival, Hong Kong’s cinematic future is in the spotlight, welcoming the presence of veteran producers Ronan Wong and Debbie Lam. With decades of cross-cultural experience and a pioneering spirit, they are not just representing a region—they’re redefining its creative boundaries. From immersive cinema to international co-productions, they are proving that Hong Kong remains a global hub for film innovation and storytelling.

 

From Hong Kong to the World: Breaking Barriers in Cannes

As the Cannes Film Festival continues to serve as the epicentre of global film culture, two seasoned producers from Hong Kong, Ronan Wong and Debbie Lam, are championing a bold and forward-thinking vision for Asian cinema. Their appearance at Cannes this year is far more than ceremonial, it’s a signal that Hong Kong's film industry is recalibrating its global impact.

“It’s my first time here,” Lam shares. “Even though Hong Kong has had a connection with Cannes for over 60 years, being here physically reinforces that symbol to the global market.”

For Wong, who’s attended Cannes for over a decade, the festival is still unmatched. “This is one of the biggest film festivals in the world. In 10 days, you talk to everybody in the industry, every meeting, every promotion counts,” he says. “We are doing a people-oriented business. We’re selling a story on paper and asking for millions. What other industry works like that?”

Ronan Wong: The Creative Technologist

Ronan Wong’s two-decade career in film has seen him wear multiple hats, from international collections to immersive cinema. Today, he’s spearheading a movement toward interactive storytelling.

“After COVID, the audience changed,” he explains. “They’re not just watching anymore, they want to be part of the story.”

Wong recently debuted a groundbreaking interactive cinema experience in Japan. “The audience makes choices during the film, and the story follows their decisions. It's immersive, it’s cinematic, but also communal,” he says. “You can’t replicate that on a streaming platform. This is the future.”

Having filmed across Asia, from Thailand and Korea to Indonesia and mainland China, Wong appreciates Hong Kong's unique strengths. “In Hong Kong, we understand both the creative and business sides. We’ve built trust with international systems, European, American, and beyond,” he says. “That foundation allows us to execute at a global level.”

He likens Hong Kong to a cultural crossroads: “We’re like a development room full of voices from everywhere. When we draw a lion in Hong Kong, it’s a global lion."

Debbie Lam: From Groundwork to Global Vision

Debbie Lam’s producing journey began in the trenches of in-house production at major Hong Kong networks like TVB. Her latest work, Left on Read, marked a decisive shift into independent filmmaking, and a return to her on-the-ground roots.

“I come from the production frontline,” Lam says. “In-house, you deal with a lot of paperwork and logistics. But on set, you feel the pulse. It’s more exciting, more fulfilling.”

Her experience filming abroad—particularly in France—has highlighted the contrast between global and local production norms. “France has strong unions. In Hong Kong, it’s more flexible. For example, we can shoot in many public areas without permits, which surprises foreign crews,” she says.

That flexibility makes Hong Kong an attractive shooting destination, but Lam emphasises that infrastructure and crew expertise are just as critical. “Hong Kong offers a full package of skilled crews, advanced equipment, and financial structures that foreign productions can rely on.”

Hong Kong Cinema: A Legacy and a Future

Hong Kong’s cinematic legacy at Cannes dates back to 1960, with the festival’s first official selection from the city. Today, that legacy is evolving, carried forward by producers like Wong and Lam who are blending tradition with technology and local identity with international appeal.

“The audience today isn’t fascinated by the old grandeur of cinema anymore,” Wong reflects. “They want content that’s meaningful, fresh, and immersive. Our job is to meet them where they are and surprise them.”

Post-pandemic shifts have accelerated these changes. “Technology is transforming film again—just like it did when we went from silent films to talkies, or black-and-white to colour,” says Wong. “Now, it's interactivity, immersion, and experience.”

Lam agrees that cinema must evolve but maintains that Hong Kong is poised for the challenge. “We’ve always adapted and our system allows us to move fast. But now we’re also aiming to balance logistics with creative storytelling more than ever before.”

Looking Ahead: A Connected, Creative Future

As Wong and Lam continue conversations in Cannes, they’re not just networking—they’re laying groundwork for the future of Hong Kong’s presence in international cinema. From co-productions with Korea and Japan to pioneering new forms of audience engagement, they’re crafting stories that travel, both geographically and emotionally.

“When we tell stories, they’re designed to cross borders,” Wong says. “We’ve been working this way for years. But now the world is finally ready to engage with it fully.”

In an age where film festivals remain crucial touchpoints between cultures, producers like Wong and Lam are ensuring that Hong Kong not only stays in the conversation, but leads it.

Images courtesy of Zaynah Javed