No Hongkongers would have realised what lies ahead of us in this occupy movement from the point when Benny Tai inaugurated it - 79 days of occupation leading up from the day of 928 in 2014, from the moment when the first tear gas bomb was cast. The director replaces words with visuals, capturing scenes from Admiralty, Mongkok, Causeway Bay and Tsim Sha Tsui; interviewing protesters from all walks of life who were fasters, students, parents, secretaries, first aid volunteers, owner of elderly home......all came together as witnesses and participants of this critical page in the Hong Kong history. The film documents fights on different levels - between the Yellow and Blue Ribbons, commoners and the police force; as well as fights against political control. In hindsight fours years after the movement, is it truly as what Benny Tai has described, that the movement has occupied more than just the roads, but the hearts and spirits of Hong Kong? Have the seeds been successfully sewn?
畢業在即的Isaac和曾家榮遇見民主女神，當曾家榮終日發夢「我要成名」，女神就大講資本主義如何以自由經濟奴役人民。Isaac眼中的女神神聖無瑕、高深莫測，唯有偕曾家榮投進社運風潮連場浪蕩，沾染抗爭光環，嘗試理解這份聖潔。無奈生活終歸是現實，Isaac一句「馬克思始終唔關我事」，徹底地背向齊澤克推舉的「Be realistic, demand the impossible」，到底也要努力天天向上，老老實實搵份穩定工作最實際。反而曾家榮最不懂現實，不願妥協便陷入困頓。茶餐廳一幕借本土派之口、交替剪接佔中前夕的紀錄片段批判左膠思維，論盡佔中的「和理非非」如何不切實際。現實依舊沒有改變，二人依舊選擇繼續「實現」那「不可能」背後的經濟利益圈套，安然地頭頂光環與體制融合又極力維持純潔的道德修養，這大抵是許多生活階層最根本又最真實的寫照，想扮真正的左膠，偏偏連偽左膠都不如。
Soon-to-be graduate Isaac and Tsang Ka-wing meet the politically active Sonya. While Ka-wing spends his days dreaming of fame and fortune, Sonya will not stop talking about how capitalism exploits the labour force in the free market. In Isaac’s eyes, Sonya is saintly and enigmatic. So he and Ka-wing enters the turbulent world of social activism, hoping that their clinginess will bring them next to her godliness. Regrettably, reality kicks in and Isaac declares, “Marx is none of my concern,” which goes against Slavoj Zizek’s mantra, “Be realistic, demand the impossible.” Ultimately, it is more pragmatic to find a stable job and accept the daily grind. On the contrary, Ka-wing the nonconformist struggles mightily. In a scene at a restaurant, the film uses the localists’ conversation and documentary footage from the pre-Occupy protest to critique “leftard” thinking by pointing out how unrealistic “peaceful protest” is. Reality has not changed yet the two protagonists continue to pursuit the “impossible” economic ideal. This is likely the realest portrait of those who are trying to maintain their morals while avoiding any disruption of the status quo. Sadly, they are even worse than “leftards”.