香港導演陳果在非華語影評家眼中是什麼地位？

01-07

拍了香港製造 (豆瓣)、去年煙花特別多 (豆瓣)、細路祥 (豆瓣)、榴槤飄飄 (豆瓣)、香港有個荷里活 (豆瓣)等佳片的香港導演陳果，以其對底層的關注、97情結以及兇猛凌厲的影像風格，深刻詮釋了香港的惆悵、痛苦、哀愁和憤怒，但我查了一下他的獲獎記錄，卻發現獎項大多集中於香港本土，以下為獲獎列表。
陳果是我很喜歡的導演，我對他的創作水平自然是有自己的具體看法，但我想知道的是，非華語地區的影評人是怎麼看待他的作品的藝術成就？

他沒有造成國際轟動，是因為沒趕上國際影壇獲獎類型的潮流？過於本土化（從具體表現角度確實有點）而不具備世界性？因為敏感的意識形態導致美譽沒有經過大陸輿論的放大？還是項目策劃營銷的不力？
希望有比較權威的文獻參考，而非個人抒情，謝謝各位回答。

2014 Chicago International Film Festival Preview

"The Midnight After" (10/10, 12), the latest work from Hong Kong madmanFruit Chan, follows seventeen people in a minibus trying to figure out the cause of the pandemic that has apparently eradicated all other human life before they wind up destroying themselves.

"The Midnight After"

Maverick helmer Fruit Chan (「Made in Hong Kong,」「Durian Durian」) bends genre like it』s putty in his hands, distilling the macabre from the everyday and making the apocalyptic seem absurdly matter-of-fact. Fest play is assured, and ancillary prospects in overseas Asian-friendly niches look hopeful.

[...]

Chan, who』s known for his frugal production values, again makes every penny count, packaging cheap sci-fi elements with high camp, and generating shivers with a mix of real interiors and unglamorous street scenery. His regular d.p. Lam Wah-tsuen handled the guerrilla-style handheld camerawork, complemented by oppressive sound design and edgy music.

Berlin Review: Fruit Chan"s Post-Apocalyptic "The Midnight"

The Chinese director"s first feature since 2009"s ghost story "Don"t Look Up" adopts a familiar scenario involving the aftermath of a mysterious event — leaving only a handful of survivors thrust together to sort things out — but fires off in innumerable tonal directions, resulting in a mesmerizing genre hybrid that renders modern China in deliriously cartoonish terms with a dark undertone.

BFI | Sight Sound

In short, Chan"s film was the first Hong Kong feature which could be called an "indie" in the sense that the Sundance Festival once meant it, but the film is smart and accomplished enough to deserve better than to be treated as an enterprising novelty. Chan"s background in the industry inflects it at every level. It"s at once an insider"s attempt to unlearn some bad industry habits, a professional"s bid to beat commercial rivals at their own game, and an outsider"s criticism of the ways the industry has glamorised the current generation of juvenile delinquents. Another independent director coming to this project without Chan"s history behind him certainly would have made a very different film.

Curious about Crap: Fruit Chan』s Public Toilet (2002) ? Senses of Cinema

It defines the in-the-moment-attitude that gives Chan』s films their human frailty, a startlingly frank expression of tenderness towards their conflicted protagonists that prevails over all the harsh plot turns they』re being subjected to, even if Public Toilet seems less bent on examining those conflicts than with just hanging around in the vicinity of its characters. It』s a humble gesture of respect for their existence, and it fits in nicely with what is probably the 「theme」 of the movie. As Shelly Kraicer has noted persuasively in these pages, Public Toilet deals with Hong Kong』s identity crisis in the face of globalization, proposing the construction of a new identity for a multicultural society. Its equal treatment of the various places and multi-national characters may be erratic, yet it is honest. (「He didn』t want to be an Italian who doesn』t know Italian history」, is the explanation when an upcoming emigrant leaves his friends to study.) There』s a modesty to Public Toilet that makes me hope it』s the future of global filmmaking. If there is such a thing as global filmmaking. You tell me.

Far East Film Festival 2014 review ? Hong Kong Cinema

Addressing very local concerns in a popular way helps to explain why the film has apparently been a box office success in Hong Kong. But the narrative is ramschackle, to say the least, with many plot points that make no sense and an inability to wrap it up that leads to at least 40 minutes of excess material at the end. In the glory days of Hong Kong cinema when productions were financed on a plot outline and signed-up star, directors often made it up as they went along. But Fruit Chan had plenty of time to work on this film, and so the absence of a coherent script is less forgivable.

Remaking East Asia, Outsourcing Hollywood ? Senses of Cinema

As for Taiwan』s Tsai Ming-liang (Goodbye Dragon Inn) and Hong Kong』s Fruit Chan (Hollywood Hong Kong), who are least likely to succumb to Hollywood homogenisation, they will continue to fight their lonely and uphill battle.

https://books.google.com/books?id=FG4dBQAAQBAJlpg=PA4ots=m8N4H55sL5dq=fruit%20chan%20international%20reputationpg=PA4#v=onepageq=fruit%20chan%20f=false

看過五部..

香港製造香港有個荷里活人民公廁三更之餃子那天凌晨,我坐上了..................

上面有人說得不錯.出道便是顛峰,但過了顛峰便是下坡.....

李燦森是他的御用.....也是他發掘的

他的片子只能局限於香港本土,因為他特么的就是個B級片導演...............................!!!!B級片有幾個能成氣候的??????????

不想多說.......

反正頹廢怪雞的人不會討厭他....

他最新作:那夜凌晨,,,,,,,,,,,,,充滿了B級片的惡趣味..................................

而且技巧也好了不少.................而且在拍鬼片方面很有天份.................

我贊成香港鄉民對柏林那群人的抨擊,這片子確實拍得有趣!!!電影么,有趣就行了....................

這麼多年還能致力於電影趣味的導演,不多....

可以往恐怖片方向發展的啦,不能讓麥X龍專美.

謝邀，不了解

題主邀請我真是怪不好意思的，俺沒看過啊，我去補補課再回答

陳果執導的新片《那夜凌晨……我坐上了旺角開往大埔的紅van》前晚在柏林影展首映，評價不一。（圖翻攝自微博）
陳果執導的新片《那夜凌晨……我坐上了旺角開往大埔的紅van》前晚在柏林影展舉行首映，反應很好更讓全場觀眾站著拍手長達兩分鐘。由於陳果大幅度更改原著並講明要在戲中加入政治元素，令香港他的死忠粉絲更增加了想要看的衝動。
但美國雜誌《Hollywood Reporter》每日出版的柏林影展特輯里，對《那夜凌晨》這部片的影評卻是劣評，文中指這部電影難以消化，結構雜亂並直指導演無力駕馭這部戲，拍出又亂又嘈吵又無能的電影。
此影評一出立刻引發香港網民的回嗆，直指該作者不了解香港人特有的政治情結，只懂其一不解其二，其實沒有資格對這部電影下這樣的評論。(中時即時)

http://www.chinatimes.com/cn/realtimenews/20140210004422-260404

陳果是我非常喜歡的導演之一。

細數《香港製造》、《去年煙花特別多》、《細路祥》和《香港有個荷里活》，你能發現陳果的作品有著對政治和人性的無情控訴與諷刺，也有通過慢鏡頭對97之前的香港瑣碎街頭的詩意展開。

陳果把香港的下落歸咎於回歸，極其令人反感。

他騙了劉德華。

人品很差。

出道即巔峰的代表人物。