Interview: Chak Hin Leung, Eden Court

Eden Court’s film education work goes from strength to strength. They offer a range of filmmaking courses and industry events for young people, youth screenings curated by their Youth Board, and learning opportunities for older adults. In this interview we catch up with their in-house Arts Practitioner, Chak Hin Leung.

(This article forms part of our ongoing Education in Cinema project, supporting exhibitor-led film education across Scotland. The project is funded by Screen Scotland)

What came first for you, education or film?

Film – I didn’t start out with formal film education; I mostly learned by diving in and having fun. There’s something really freeing about not having a rigid framework from the get-go. It lets you follow your curiosity, learn from your mistakes, and discover your own style as you go.

Any particularly strong film memories from when you were growing up?

When I was growing up in Hong Kong, nothing really stood out to me in terms of film memories. It wasn’t until recently that a couple of films hit me hard and made me realise just how important representation is. Everything Everywhere All At Once (2022) and Fire Island (2022) were the ones that really got to me.

For the first time, I felt completely seen. I never truly understood why representation mattered until I experienced it myself. It was a real “ah-ha” moment for me.

In addition to working in education, your film work has had a particular focus on architecture and cultural identity.  Tell us a little more about that.

Most of my films are documentaries, and I think my background in architecture and Chinese heritage has really shaped how I see the world and what I find interesting. For instance, during my final year of studying architecture, I made a short observational documentary about how people adapt to living in Mumbai, India. A fellow filmmaker mentioned that while he might focus more on close-ups of people’s faces, I naturally gravitated towards broader themes like infrastructure.

That filmmaking process made me think a lot about how different cultural practices and values are passed down through generations, no matter where you are in the world. Right now, I’m finishing up a small-budget commissioned short documentary through the Little Pictures scheme by GMAC. It’s about the stories of two UK immigrants told through their tea cultures.

What do you find the most challenging aspect of working in film education in Scotland?

I’ve only been working in film education for about two years, and I’m still figuring out how to tailor my approach for young people with neurodiverse conditions like ADHD or social anxiety. It’s a learning process, and I’m focused on finding ways to make filmmaking accessible and engaging for everyone.

And what gives you cause for optimism?

When I see the spark of inspiration from my film workshops, it’s incredibly rewarding. Like the time a primary school student went home, downloaded an app, and made a stop-motion animation with his granny after our session. Or when a film they created ends up being a cherished memory for them.

What really makes it all worthwhile, though, is when even just one person feels seen and understood through my work.

This year,  you and your colleague Drew Tremlett have launched a new Highlands and Islands film network, called Filmlands, to support new, emerging and existing filmmakers as well as film fans. Can you tell us a little more about Filmlands?

When I first moved to Inverness, my introduction to the Scottish film scene was through a short film open mic night called Cafe Flicker, run by GMAC. It was there that I made my first filmmaking friends and got a ton of valuable feedback. Seeing a gap in similar support networks in the Highlands, Drew and I decided to create our own platform where people could connect and share their work.

Can you tell us a little about the film engagement provision currently being offered at Eden Court? 

In the Eden Court Studio Programme, we run three youth film classes for ages 9 to 18, and we’re about to launch Just Film for adults soon. We also have our Futures Studio, which provides music and film creation sessions for young people who aren’t in school or are looking for a creative community. Plus, we’ve partnered with BFI to offer the BFI Academy for the Highlands region and provide free monthly screenings through BFI Recommends.

You are based in the magnificent Bishops Palace at Eden Court, have you ever seen any of the rumoured ghosts?

Personally, I haven’t experienced anything, but I’ve heard stories about the burnt candle smell in the chapel room and the Green Lady around the building.

I’m pretty timid when it comes to ghosts, so I steer clear of horror films, but the young folks absolutely love them!

And lastly, you’re stuck on a desert island with a bit of shade, a film projector and a group of young people. What film would you choose to screen?

If our chances of survival were slim, I’d go with Cast Away for some survival inspiration. But if I knew we’d be rescued in a few hours, I’d pick Marcel the Shell with Shoes On, so we could each find a shell on the beach and remember the day. Practical thinking, right?

Chak Hin Leung is a Hong Kong-born, multi-disciplinary filmmaker based in the Scottish Highlands. Known for his intuitive and observational style, his documentary films capture intimate, unguarded moments that reflect the human experience from different cultural backgrounds. Driven by a desire to connect with audiences, Chak creates films that bring joy and give voice to underrepresented stories. His work has been featured at various international film festivals and museums, and he is currently expanding his practice into experimental dance films, exploring themes of cultural identity. With each project, Chak remains dedicated to fostering diversity within both the cast and crew.