Advertisement
Life.Culture.Discovery.

Q&A | Hong Kong actress Jo Koo steals the scene in crime thriller Papa

The veteran actress on working with Philip Yung and Sean Lau, learning about psychosis, and her debut in a 1998 Fruit Chan film

Reading Time:4 minutes
Why you can trust SCMP
Jo Koo Cho-lam has a supporting role in the Hong Kong true crime film Papa. Photo: Jocelyn Tam

Hong Kong critic-turned-filmmaker Philip Yung Tsz-kwong is known for his adaptations of gruesome true-crime stories. For Papa, his latest work as a writer and director, he draws inspiration from the shocking case of a 15-year-old who murdered his mother and sister in their Tsuen Wan home in 2010.

Advertisement

Whereas Yung’s 2022 outing, Where the Wind Blows, takes a more over-the-top approach to criminal behaviour, Papa focuses on one man’s attempt to reconcile his son’s crime.

Sean Lau and Jo Koo star in Philip Yung’s Papa. Photo: Golden Scene
Sean Lau and Jo Koo star in Philip Yung’s Papa. Photo: Golden Scene

While the multi-award-winning Sean Lau Ching-wan shines as desperate father Yuen coming to terms with his own child killing the rest of his family, the supporting cast of wife Yin, played by Jo Koo Cho-lam, and son Ming, played by Dylan So Man-to, hold their own, delivering fine performances in a non-linear plotline as murdered mother and murderer son. Daughter Grace is ably portrayed by Lainey Hung Lok-yee.

We caught up with Koo, 47, to discuss how she approached her character, her on-set chemistry with Lau and how she thinks this harrowing film can contribute to society at large.

You have scene-stealing performances as a caring mother and an under­standing wife in Papa, while we the audience know your fate. How did you get involved in the project?

Jo Koo plays the mother in Papa. Photo: Golden Scene
Jo Koo plays the mother in Papa. Photo: Golden Scene

I have known Philip Yung for a long time, and he wrote this script right after winning multiple awards with his film Port of Call (2015). He sent it to me at the time for comments while waiting for potential investors, and after six to seven years he finally secured funding. When I was reading the script, I already thought it was very cinematic, while providing plenty of room for thought and audience contemplation.

Advertisement