小島之上，海風吹散老人的白髮。 黎連壽口中哼著輕盈自在的漁歌：「大船拋住沱濘頭誒，舢舨送郎賴氏州呀，咪俾東風吹窒你妹娘裙尾呀，細魚投胎潡肚白呀，燈盞無油誒是黑岩……」隨興變奏，調子重覆，與海浪聲載浮載沉。 海上風物，生老病死，漁歌歌者唸唸有詞。塔門黎氏靠捕魚維生，漁歌自古口耳相傳，但現在已難覓知音。黎伯生於戰前，與太太結婚六十餘年，是香港少數精通漁歌的水上人。子女無一從事漁業，也未曾經歷驚濤駭浪的生活，對父親的歌藝竟然未有所聞。
On the small isle of Tap Mun, the ocean breeze gently lifts up strands of grey hair on Lai Lin-shau’s head. He quietly sings in the characteristic tones of the fisherman’s ballads: Anchor large boats at the tip of To Nin, a sampan sends the lover to Sai See Island.....”. The melody alters with his moods and, seemingly without rules, the pitch and tones alternate and repeat themselves as if they were synchronising with the ocean waves. The lyrics of these ballads tell the stories of the trials and tribulations of the life of the fisherman. The Lai family had, for generations, fished for a living in the waters of Tap Mun, their ballads are passed down from one generation to the next, but the songs are finding fewer and fewer listeners today. Born before WWII, Mr. Lai has been wed to his wife for over 60 years. He is one of the few people alive who knows the fisherman’s ballads intimately. None of his children followed the ancestral path of a fisherman, and none experienced the harsh and unforgiving life at sea. They are not even aware of his singular and priceless knowledge of the ballads.
The deeply tanned skin with a whiff of sea salt coming off their bodies are the distinctive signs of an ex-fisherman to the city dwellers. As the fishing community shrinks, they found new ways of life on land. One performs and teaches the ballads to young children; another uses the ballads to spread her Christian faith. The ballads have become a spiritual harbour for these landed fishermen and appear to offer solace and certain selective nostalgia to a life of hardship. These ballads were once part of the nautical landscape of Tap Mun and as the memories of the fishermen’s past lives fade, the words and melodies have come ashore bringing spiritual serenity to those who would hear the songs of the sea.
畢業於香港中文大學藝術系（文學士）及哲學系（文碩士）。短片《女實Q》獲第二十屆ifva獨立短片及影像媒體比賽公開組銀獎，及獲邀參加法國克箂蒙．費朗國際短片節2016; 《瑪蓮箂的凝視》入圍「第十三屆中國獨立映像展」 （CIFF）。最新作品《岸上漁歌》，尋找失傳的本地漁歌，記錄香港漁民上岸後的生活，獲PURE ART FOUNDATION、衛奕信勳爵文物信託及香港藝術發展局資助，入圍2016 CCDF CNEX 中國紀錄片節。2014年與一班電影人成立「自主映室」，致力推動本地獨立製作發行及放映，以電影為行動。
He receives his B.A. in Fine Arts and M.A in Philosophy from The Chinese University of Hong Kong. Attributed to the trainings on fine arts and philosophical thinking, his films have a thematic consistency on humanity and justice. Short films, Women Security Guard (2015) was awarded Silver Award in Incubator for Film and Visual Media (IFVA). Malinois Gaze (2016) made a presence in several film festivals, including Clermont-Ferrard Short Film Festival and Chinese Independent Film Festival. He moves on to directing his own feature films.
His latest documentary film, Ballad on the Shore (2017) is widely reputed for its poetic handling on a disappearing local fishermen culture. The film opens an active dialogue on the unconquerable vanishes of old cultures, attracting over 50 pieces of critic reviews and extensive media coverage. The film was selected to the 2016 CNEX pitching forum. He is the founding member of an emerging independent film organisation Autonomous Cinema, promoting film culture and community education.