1959, a large number of Cantonese films paid to raise funds to build the venue of the South China Film Association and shoot "The Banquet of the Giants". Thirty-two years later, the remake of this film is floating in front of everyone, this time to donate to the performance of the flood in East China.

Ceng Zhiwei and Zheng Yuling took the lead, and Anita Mui, Sally Yeh, Mi Xueer monique Rice, Zhang Aijia, Tony Leung Chiu Wai, Leslie Cheung, Stephen Chow, Wang Zuxian, Zhang Keyi and other stars appeared in turn, and staged a huge "powerful feast".

It's really not worth mentioning just the story of the movie. Its greatest significance is its public welfare! It brings together more than 200 performing stars from Hong Kong, the biggest purpose of which is disaster relief, and the film has talked about disaster relief more than once. This is a movie starring Hong Kong people to help the mainland. They held a "rich and powerful banquet" and raised a lot of money to donate to the mainland for disaster relief, which completely achieved the purpose of "inviting people to dinner".

Such a grand occasion is unprecedented in the history of Hong Kong movies. The most surprising thing should be the last scene of the movie, in which cold-faced comedian Xu Guanwen and king of comedy Stephen Chow fought over a piece of chicken head. The opposite play of two humorous masters may be enjoyable to watch, but from another perspective, it may be deliberately consolidating the confrontation between the old and new comedy kings and imparting the meaning of inheritance.

In this film, there are also many concluding satires on Hong Kong films. Xu Guanwen and Stephen Chow's self-mockery, as well as some insinuations about the Hong Kong Academy Awards, are very sure.

On the other hand, the team that built the film concentrated the elites of Hong Kong film industry, and their shooting efficiency was very high in an instant, which made the film more interesting.

The characteristics of the Banquet of the Giants are not only the gathering of stars and the nature of public welfare, but also several characteristics. First, there are distinct values, the core of which is filial piety and benevolence in China traditional culture. This is a feature of Tsui Hark's films. We can constantly find the moral category of loyalty and patriotism in Tsui Hark's films. Second, its high-level organization, production and shooting are worth learning by future filmmakers.