During a recent press tour in Bangkok, actress and producer Josie Ho Chiu-yee unveiled her latest film, The Mage, a horror-crime thriller set against the backdrop of Hong Kong. The film, which opened today across several Asian markets including Thailand, Malaysia, Singapore, Indonesia, the Philippines, and Vietnam, represents a return to the darker themes that have marked Ho’s earlier work.

Ho, the daughter of the late Macau casino tycoon Stanley Ho Hung-sun, stars in the film as Lan, a garbage collector who possesses spirit-medium abilities. When a series of mysterious deaths occur, Lan uses her skills to locate souls trapped within discarded objects and guide them toward reincarnation. Police officer Wong, played by Carlos Chan Ka-lok, initially suspects Lan of involvement in the crimes but eventually partners with her to confront a more sinister threat.

The project was developed under Ho's independent production company, 852 Films, where she serves as a co-producer alongside her husband, Conroy Chan Chi-chung. Unlike previous productions where Ho was heavily involved in the creative process, The Mage was principally driven by the Pang Brothers, with Danny Pang Fat originating the concept. Ho noted that the collaboration was based largely on mutual trust and friendship, allowing her to improvise rather than follow a traditional acting approach.

Filming involved physically demanding scenes and authentic locations, including actual refuse sites. Ho described working with real garbage rinsed in water as challenging, particularly given her self-professed germophobia, which at one point led to a painful eye infection. Production director Danny Pang insisted on high standards, even financing scenes such as submerging Lan’s bedroom completely underwater, to enhance the film’s immersive quality.

Also featured in the film is Iman Taheri, an Iranian-born actor and former doctor who joined 852 Films after expressing interest in acting. Playing an English-speaking police chief skeptical of the supernatural, Taheri took on his first role with limited prior experience but strong enthusiasm. Ho highlighted his unique presence and physicality as reminiscent of a more traditional masculine archetype, contrasting with current trends in Hong Kong cinema.

Looking beyond The Mage, Ho expressed ambitions to forge a broader “pan-Asia” cinematic movement that could overcome the limited appreciation for Asian artistry often observed by Hollywood executives. Taheri echoed this vision, invoking the historic Silk Road as a symbol of cultural exchange and artistic revival. Ho also revealed aspirations to connect more closely with Iran, marking a personal and professional extension of her creative network.

Reflecting on her career, Ho acknowledged that many of her past roles were chosen partly to carve out an identity distinct from her influential family background. She has frequently embraced unusual or morally ambiguous characters, such as the anti-heroine in the 2010 film Dream Home. However, she said that today she approaches such roles with a greater sense of comfort and authenticity rather than as a conscious act of defiance.

With The Mage now in cinemas, Ho is poised to demonstrate how independent filmmaking in Asia continues to thrive through bold, unconventional storytelling and cross-cultural collaboration. A sequel to The Mage has already completed filming and is currently in post-production, underscoring the film’s role as the foundation of a developing franchise.