繁體中文
許鞍華（Ann Hui On-wah），1947年5月23日生於中國遼寧鞍山，父親是國民黨文書，母親是日本人。1952年，她隨家人移居澳門，其後再遷居香港，在港入讀聖保祿學校，自小對電影產生濃厚興趣。1969年她入讀香港大學，1972年以一級榮譽取得文學士學位，1973年再取得英文及比較文學碩士學位；1975年她遠赴英國倫敦電影學院深造，返港後曾任胡金銓導演的助手，其後在無綫電視、廉政公署及香港電台工作，期間拍攝了以真人真事為藍本的《ICAC》劇集，累積紀實拍攝經驗。
1979年，許鞍華首次執導劇情片《瘋劫》，劇本由陳韻文編寫，取材自港島龍虎山的一宗兇殺案，被視為香港新浪潮電影的代表作之一，並獲第17屆金馬獎優等劇情片獎；1980年再執導《撞到正》，奠定其新銳導演地位。其後她完成以越南難民為題材的「越南三部曲」，包括《胡越的故事》（1981）與《投奔怒海》（1982），後者奪得第2屆香港電影金像獎最佳電影及最佳導演等多項大獎，並入選康城影展，令她在國際影壇嶄露頭角。
許鞍華的創作橫跨文藝、武俠與社會寫實，曾改編張愛玲的《傾城之戀》（1984）與《半生緣》（1997），亦改編金庸的《書劍恩仇錄》（1987）。1990年的《客途秋恨》帶有半自傳色彩，寫母女關係與文化身份的拉扯。她長期把鏡頭對準女性與社會弱勢：《女人四十》（1995）刻劃中年女性照顧失智家翁的壓力，讓蕭芳芳奪得柏林影后；《天水圍的日與夜》（2008）以天水圍的尋常生活破除「悲情城市」的標籤；《桃姐》（2011）改編自真人真事，令葉德嫻在威尼斯封后；《黃金時代》（2014）重構作家蕭紅的一生，收穫多個獎項；2020年她推出改編自張愛玲小說的《第一爐香》。
她六度奪得香港電影金像獎最佳導演（第2、15、28、31、34、37屆），另三度奪得金馬獎最佳導演，是香港電影史上獲金像獎最佳導演次數最多的導演。2020年，她獲威尼斯電影節頒發終身成就金獅獎，成為首位獲此殊榮的華人女導演；她亦先後獲香港大學、香港演藝學院及香港都會大學等多間院校頒授榮譽博士。她另執導《幽靈人間》（2001）、《玉觀音》（2003）、《天水圍的夜與霧》（2009）與《得閒炒飯》（2010）等片；2017年再以《明月幾時有》贏得香港電影金像獎最佳導演。她的作品多次入選康城、威尼斯、柏林及多倫多等國際影展，並常以香港的社區與家庭為背景。評論界常把她與同時代的新浪潮導演並列，認為她以寫實而帶溫度的筆觸記錄普通人的尊嚴，把香港電影的寫實傳統推到新的高度，她亦是香港最受敬重的導演之一。
English
Ann Hui On-wah (born 23 May 1947 in Anshan, Liaoning) is a Hong Kong film director, producer and screenwriter, and one of the leading figures of the Hong Kong New Wave. Her father was a Nationalist Party clerk and her mother Japanese; in 1952 the family moved to Macau and later to Hong Kong, where she attended St Paul's Convent School. She entered the University of Hong Kong in 1969 and graduated with a first-class BA in 1972, followed by a master's degree in English and Comparative Literature in 1973. She then studied at the London Film School and returned to Hong Kong in 1975, working as an assistant to director King Hu and later for TVB, the ICAC and RTHK, where she made a documentary-style series based on real cases.
Her 1979 feature debut The Secret, scripted by Joyce Chan and drawn from a real murder on Hong Kong Island, is regarded as a landmark of the New Wave and won a prize at the 17th Golden Horse Awards. The Spooky Bunch followed in 1980. She then completed her Vietnam trilogy, including The Story of Woo Viet (1981) and Boat People (1982); the latter won Best Film and Best Director at the 2nd Hong Kong Film Awards and screened at Cannes, bringing her international attention.
Hui's films range across drama, martial arts and social realism, and include adaptations of Eileen Chang's Love in a Fallen City (1984) and Eighteen Springs (1997) and of Jin Yong's The Book and the Sword (1987). The semi-autobiographical Song of the Exile (1990) explores a mother-daughter relationship and questions of cultural identity. She has long focused on women and the underprivileged: Summer Snow (1995) follows a middle-aged woman caring for a father-in-law with dementia and won Josephine Siao the Silver Bear at Berlin; The Way We Are (2008) counters the label of a city of sadness with the everyday life of Tin Shui Wai; A Simple Life (2011) is based on a true story and brought Deanie Ip the Best Actress award at Venice; and The Golden Era (2014) reconstructs the life of the writer Xiao Hong. Love After Love, her adaptation of another Eileen Chang story, followed in 2020.
She has won the Hong Kong Film Award for Best Director six times (2nd, 15th, 28th, 31st, 34th and 37th editions) and the Golden Horse Award for Best Director three times, making her the most awarded director in the history of the Hong Kong Film Awards. In 2020 she received the Golden Lion for Lifetime Achievement at the Venice Film Festival, the first Chinese female director to be so honoured, and she holds honorary doctorates from several institutions, including the University of Hong Kong and the Hong Kong Academy for Performing Arts.
