The pair last worked together on The Teacher without a Licence in 2000. Mung, who has largely stepped back from acting, decided to return to support Hong Kong’s struggling film industry. “If I can help, I don’t mind the compensation or the schedule,” she said.
Acting Choices and Home Truths
In the film, Cheung plays a father sporting a distinct, self-designed “Mediterranean” balding haircut. “Every time I get a script, I think about every detail inside and out to make the character more three-dimensional,” he explained, unfazed by the comedic look.
Returning to set came with a nudge from home. Mung revealed her husband, actor Ekin Cheng, advised her to lose weight before the shoot. “The change was quite big. I’m not mad… I have a responsibility to get in shape,” she said. Mung also addressed rumors that she had relocated to Japan, clarifying she still lives in Hong Kong and only travels there for business, a process now made easier by AI.
A Candid Look at Marriage and Family
On screen, Cheung and Mung play a couple with contrasting personalities. Off screen, Cheung offered a pragmatic take on marital dynamics. “In the world, it’s hard to find two people who are exactly the same. The most important thing in marriage is acceptance and adaptation,” he reflected.
As a father to a 20-year-old daughter, Cheung admitted his biggest worry is her choice in partners. “How do you tell your daughter? Men with money play around, men without money play around too,” he joked, ultimately acknowledging that she must live her own life.
Mung described her own marriage to Cheng as a “friendship-style marriage” built on total honesty. “We talk about everything. There are basically no secrets. That’s the most comfortable way to live,” she said.
Two Generations on Set
Zhong Xueying, who plays the daughter in the three-person family, says she thrives on observing people and making her parents trust her through her happiness. On set, she noted the contrast between her veteran co-stars: Cheung was intensely prepared with scripts full of notes, while Mung maintained a relaxed demeanor but could instantly switch into character. “Their two completely different ways of working came together perfectly,” she observed.
The film also features wire work and historical costumes. Cheung recalled the grueling physical demands of period films from his past, contrasting them with today’s AI-heavy sets, which he says ease the burden on younger actors.
With its blend of veteran wisdom and fresh talent, “My Dad Wants to Travel” stands as a warm, honest look at family life and a hopeful sign for a resilient local film industry. The film is slated for release in the coming months.
