Camille Razat from "Emily in Paris" and rising star Mélanie Robert are bringing Parisian glam and cinematic brilliance to Hong Kong for their new film “Prodigieuses," which premiered at the 53rd edition of The Hong Kong French Film Festival in November.

Directed by Valentin Potier and Frédéric Potier, Prodigieuses is a touching biopic of the Pleynet sisters Audrey and Diane Pleynet, two 18-year-old piano prodigies.

Camille Razat and Mélanie Robert play Claire and Jeanne Vallois, whose music careers are derailed by a rare disease. Refusing to give up, the sisters invent a groundbreaking piano technique that redefines their legacy and cements their place in music history.

During their visit to Hong Kong, Camille and Mélanie shared exclusive insights on what it was like playing twin sisters, the rigorous piano training they underwent, and their relationship off-screen.

What was it about Prodigieuses that first caught your attention?

Camille: When we first read the script, I thought it was very captivating. It's pretty rare for women to have these kinds of complex roles, as well as this depth to the story. And I think Mélanie and I were drawn to it because it's based on a true story.

Mélanie: The script is so well written. We were lucky to have the chance to receive this proposition from a true story, which tells the story of sisters, and the opportunity to play this role together with Camille, because we have been really close friends for a long time.

In the film, it appears that you both have fantastic musical talent. Were you musicians before being cast? What was the preparation process like for you?

Camille: Well we weren't pianists or musicians, so we were [not] off to a good start. We had eight months of training, learning the traditional way of playing piano. We had to learn every movement [in] each track by heart- it was like air piano. And then we had to learn the Pleynets’ technique, which is very specific and hard to reproduce, because it’s not natural to be that soft with your hands when you're playing piano. Specifically, the rhythm is pretty fast, and it's hard to be on the correct note, at the right time. It was very tricky, precise work. That's where we realized that the Pleynet sisters were truly geniuses, learning everything by heart without playing. It was definitely challenging, but very interesting.

Mélanie: Even though we are not twins and even though we couldn’t see each other because were back-to-back, we were [still] able to connect with each other back-to-back.

You were close friends before making this fillm, how did you embody the intensity of the twin sisters so effectively?

Mélanie: Camille and I have been really, really close friends [for] more than 10 years already. So, we [mainly] needed to invest time in learning to play the piano. We were lucky because we were able to do a lot of rehearsals. The closeness of our friendship [made] filming easier because we were able to save some time between the filming and directors' discussions.

Camille: We are like sisters in real life.

Clare and Jean are faced with immense obstacles in their journey to becoming musicians. What challenges have you faced and overcome in your careers?

Mélanie: Because this job is really complicated, there is a lot of competition, for myself and Camille. We support each other, even though we are competing with each other.

Camille: The movie is a bit like a mirror for our careers, because being an actor can be very tricky, and trying to succeed in your career demands a lot of work. You have to do so many castings and auditions in order to get maybe one job. And even when you get the job, really often, the movie is not shooting because of a lack of financing. They can even change their mind last minute and pick someone else. Until you have done two days of shooting, it’s totally out of your control.

Do you feel any relief or escapism portraying someone else and being in a different world?

Mélanie: Personally, I love the opportunity to do different jobs. This morning, I could be a lawyer, and the next day I could be a psychopath. I love my job. If the role is interesting, like this one [Jeanne in Prodigieues], I like to stay in character for a longer time, even after I go back home, I like to play a bit of piano thinking that I'm Jeanne, and I'll contact Camille, and say it's great that we're twins!

Camille: Yeah, it's good to be someone else and not just yourself with all your problems. Being able to be someone else, to be with so many people on set, it's like a family. It's a relief to be someone else, and it's very interesting to explore different feelings and emotions in a character.

What projects are you currently working on or would like to welcome?

Mélanie: We are promoting this movie, so I don’t have many projects in Paris yet. But I hope this might give us the chance to do Prodigieuses 2 (a sequel). I just hope to be able to continue in this industry because it’s not an easy job, but I would love to be able to work in film every day.

Camille: I was working on a couple of projects earlier this year – two TV series – one is going to be on Disney+, and the other on Netflix.

Both are French, and one of them is a thriller based on a true story. I'm playing the main investigator in that series. And in the other series I play a witch, which I love. It’s very challenging because I know people want to pigeonhole me in a way and put a label on me [because] of Emily in Paris. I love Emily, but that's not my life or final destination. I would say I'm more than that.

How does it feel having Prodigieuses featured in the Hong Kong film festival?

Mélanie: It’s my first time in Asia and I’m very happy to be here. It’s an honor to have the film in HKFF, we are very pleased. Although the director is not here, he is also very happy and grateful. So, thank you so much.

The film was shown for the first time, and the feedback was incredible. It’s extraordinary to have a French film like this based on a true story featured internationally. It's just amazing, and that means that it works in the market.

Camille: I hope everybody will buy tickets!

To find out more, visit HKFFF on their website, or follow them on Facebook, Instagram and X (formerly known as Twitter).

Indie superstar and music polymath St. Vincent is “enchanted” by Hong Kong. Making her Clockenflap debut on the evening of Saturday, Nov. 30, Dallas born musician St. Vincent (Anne Clark) told local journalists that she finds Hong Kong to be a Sci-Fi city, with "a lot of heart and soul.”

Clockenflap 2024 marked the Grammy Award-winning artist’s second visit to Asia, and her first performance in Hong Kong. After just 48 hours in the city, she described it as "romantic," likening the atmosphere to Blade Runner.

“There's so many people and so much going on. There's romance, opulence and sketchy things all happening at the same time,” she adds.

Widely considered the patron saint of indie and art-rock, St. Vincent was a popular choice to headline Clockenflap’s main stage, bringing her emotionally cathartic and electrifying global hits to an ecstatic audience.

St. Vincent fans were treated to broody alt-rock songs from her latest album “All Born Screaming.” Her rich, deep vocals wooed the crowd, backed by a four-piece band that remained in flawless control throughout the night.

St. Vincent alternated between swagger and grace—gliding backwards on her tiptoes one moment and dazzling with her virtuosic guitar playing, shredding both her guitar and black tights in the process.

In true St. Vincent style, her connection with the audience and her four-piece band was critical. This included her leaping into the crowd, exuding pure, primal, dominatrix energy. Nobody was left on the sidelines during her performance of her touching ballad “New York” from “Masseduction.” She locked eyes with fans atop a sea of enthusiastic people, singing her uplifting lyrics, “But for you, darling, I'd do it all again.”

Her Clockenflap appearance comes hard on the heels of her seventh album: "All Born Screaming," a funky and introspective compilation of noise rock, chamber pop, electronica, and more. Listen out for guest performances by Warpaint’s Stella Mozgawa, Cate Le Bon, and Foo Fighters’ Dave Grohl, as well as the track “Sweetest Fruit,” a tribute to electronic music producer SOPHIE, who passed away in 2021.

"All Born Screaming" is St. Vincent’s first self-produced album. She told The Beat Asia the creative process for the record began when she experimented with electronic improvisations.

“The making of the record started backwards in a lot of ways,” she explained. “I started having a lot of songs with modular synths and twisting knobs and finding ways that the electricity was passing through this unique circuitry.”

“Then I would come back and find moments of electronic improvisations, and think, oh, I can make a whole song around that,” St. Vincent added.

Developing these electronic motifs into fully fledged music tracks was no easy feat as St. Vincent pointed out this method of work was more demanding than traditional songwriting techniques.

“Ultimately writing the song is the hardest thing. A song has to have an epiphany. It has to feel whole. So I started with pieces, and then eventually created my own Frankenstein construct. It was quite laborious. There’s a reason why people just sit down with one instrument and write a song.”

St. Vincent continued to share that it was also a rather solitary pursuit: “I spent a lot of hours sitting alone in a room, dreaming, trying and failing! It’s a terrible thing which I wouldn’t wish on anyone!"

Despite this, she reflects that self-producing came quite naturally, as she had many years of experience devising bedroom recordings when she was young, learning the techniques of music production in the process.

“Since I was a 14-year-old, I was recording myself in my childhood bedroom. Production, engineering, and recording has always been a part of my process.”

As an adult, she finds that being able to self-produce has become an integral part of the creative process. “This time around, I had places to go emotionally, and I knew I just had to go alone and find myself.”

Staying in full control of the creative process, from the first whispers of inspiration, through the multiple stages of sound production, is how St. Vincent keeps her distinctive highly personal sound. “As a result, I am able to reproduce the sound inside my head; it’s something I’m very proud of and attached to,” she said.

Despite clearly benefiting from the experience of holing up in a studio on her own, St. Vincent is no stranger to collaboration, having worked with major stars like David Bryne, Olivia Rodrigo, Taylor Swift and Dave Grohl. She mentioned she is still open to new collaborations.

“I remain constantly surprised by the people I get to work with, and if I follow my instincts of trust in the music, then it leads me to the right people.”

Among a diverse palette of influences, St. Vincent cited industrial rock and metal bands such as Ministry and Skinny Puppy and even British pop band Frankie Goes to Hollywood. Referencing the veteran rockstars of the 70s, she claimed, “No one does it better than Bowie.” She of course, holds a special place in her heart for legendary Talking Heads vocalist and guitarist, David Byrne. “He’s a genius,” she said. “He changed the way I thought about art, performance. He changed my whole trajectory as an artist.”

The cover of "All Born Screaming," designed by Alex Da Corte, features St. Vincent bent over with her arms outstretched and engulfed in flames, dressed in black and white. She explained to curious Hong Kong journalists she didn’t actually set herself on fire for this image, although not because she was unwilling.

“I would have happily done it for art. I've done many things for art. I've been punched in the face for art, had bruises all over my body for art, but it's too expensive and complicated to light myself on fire.”

St. Vincent also released a Spanish version of "All Born Screaming," titled "Todos Nacen Gritando" in November 2024, which features all her vocals meticulously translated into Spanish. She describes the album as a “little token” for her Spanish-speaking fans, who she had met on tour in South America and Spain.

“I had these pivotal moments where I was looking at thousands of people singing back to me in perfect English, in what was not their first, second, or maybe not even their third language. They’ve been coming to see me for so long, so it was like, why couldn’t I meet them halfway?”

Asked about her first impressions of Hong Kong and whether they could inspire her next industrial rock album, St. Vincent shared she is affected by the scale of the city’s architecture.

“What's interesting to me about the city, looking at it from above, is that there's so much going on, there's so many buildings and so many people, but it's not a grid. It has a circularity and flow to it. It should be total chaos, but it somehow works.”

Always attuned to her surroundings, St. Vincent believes her time in Asia will undoubtedly inspire new sounds. “I’ll get to discover bands in Hong Kong that I’ve never heard of before, so it will work its way into a song somehow,” she says.

With her new album fresh off the ground and Asian tour ongoing (see dates in Chiba, Seoul and Manila scheduled for January, 2025) fans will be eagerly anticipating St. Vincent's next move. She certainly made her mark at Clockenflap 2024– leaving both veteran fans and newcomers satisfied yet craving more.

Given the extent of her experience and her endless curiosity for new influences, St. Vincent will surely continue to deliver new exciting sounds, keeping her work fresh and alive. She explains that there is no marketing plan. Instead, she goes where the music takes her.

“It's just a process of following music…What's going to be hot in two years, like who cares? I have no idea. Just believe in music. Music is stronger than we are.”

Clockenflap 2024 is set to deliver an unforgettable experience, as Hong Kong’s premier international outdoor music and arts festival returns to the Central Harbourfront from Nov. 29 to Dec. 1, 2024. With a newly unveiled map, stage lineup, and schedule, this year’s edition promises an unparalleled fusion of music, art, and entertainment.

Featuring six dynamic stages, over 24 diverse food and beverage outlets, captivating art installations, and a host of family-friendly attractions, the festival continues to be the ultimate celebration of creativity and culture, bringing together world-class performances and immersive experiences for fans of all ages.

Check our guide below to know what to expect, where to buy tickets, how to get to the venue, and more!

Music Stages and Artist Lineup

Clockenflap 2024 boasts an extraordinary lineup of international, regional, and local artists spread across its six dynamic stages. The Harbourflap Stage, the festival’s main stage, will feature iconic headliners like Jack White, Central Cee, and Air, alongside performances from St. Vincent, Glass Animals, and Sakurazaka46. The Hang Seng Stage showcases a diverse mix, including Suede, Jamie xx, and Creepy Nuts, alongside regional stars like Taiwanese indie-rockers deca joins and Japanese post-rock legends toe.

The Park Stage by Martell highlights emerging talent, featuring acts like Korean shoegazers The Black Skirts, Filipino-Japanese pop queen ena mori, and Japanese-Australian indie outfit Last Dinosaurs. Electronic music enthusiasts can flock to Electriq, the dedicated dance stage, for pulsating sets by A-Trak, Partiboi69, and Yung Singh, as well as top Hong Kong DJs like Romain FX.

The Robot Stage transitions from family-friendly daytime programming to lively DJ performances at night, including a set from Taiwanese collective Golden English Party and a special anniversary set by festival co-founders. Finally, the Topper Stage keeps the energy high between Harbourflap performances, with a lineup of edgy global electronic acts like DJ Kulu and Neeno.

For the complete lineup and schedule, visit Clockenflap's website: Friday, Saturday, and Sunday. You can also check the festival map below to know where to go.

Arts and Family-friendly Activities

Apart from an amazing music lineup, Clockenflap will also serve exciting experiences for all ages with its vibrant arts and family programme.

This year’s art highlights include Futurescope, an immersive installation by UK-based Esthetika that showcases unique visuals by artists such as Brandon Li, Derry Ainsworth, and Max Hattler. Another standout is The Origin, a mobile DJ booth and art installation by Screw Up Studio and Matt Hui Yip Long, featuring electrifying live sets by DJ Diamond.

The interactive Hello Hong Kong Balloon Chain will also grace the skies, reaching over half a mile (800m), and be visible across the festival grounds both day and night with the help of custom LED lights.

Adding to the immersive experience are breathtaking canopies by Alchemy Décor and the curated collection of abstract and psychedelic films, Relentless Melt No.36, by animation professor Max Hattler and Clockenflap artistic director Jay Hofmann-Forster.

For families, attractions and interactive activities like immersive soundscapes with Communal Frequencies, creative arts and crafts workshops by the Children’s Discovery Museum, and performances like Treasure Chest Theatre’s “The Butterfly Ball” will keep everyone entertained.

Families can also enjoy yoga and Animal Flow sessions, groove at the Drum Jam, dance with DJ Junk, and join the lively Team Beyond Party & Parade. On top of these, relaxation and healing options like sound baths and meditation add to the well-rounded experience. Check the schedules here to not miss out!

Keeping Festivalgoers Full While Doing the Right Thing

This year’s Clockenflap promises a feast for the senses while doing good, as it offers over 24 food outlets serving global cuisines and sustainable initiatives to reduce waste.

Festivalgoers can indulge in Festival Favorites like Little Bao, Bengal Brothers, NOSH, and El Taquero or savor premium burgers at Smoke & Barrel, Honbo, and Beef & Liberty. For an Asian twist, the Asian All-Stars section offers delights from Four Seasons Chinese Restaurant, Chubby Bento, and Morikawa. Quick bites from Pizza Hut, Egg Slut, and Cinnabon are also available, while local treasures like Chrisly Café and Explicit Spices represent the Hong Kong Heroes lineup.

For drinks, cognac house Martell is unveiling a fresh new side with its “Swift Label” at the Martell Bar, featuring an exclusive cocktail crafted with Martell Noblige. Looking to clink bottles with friends? Belgian-style lager Stella Artois will also be available at bars across the venue for those looking for that distinctive malty richness and crisp finish.

As a commitment to sustainability, Green Stations with clearly marked bins for recycling, compost, and other waste will be introduced, as well as Green Ambassadors who will serve as a guide for sorting waste. Festivalgoers are also encouraged to bring their own reusable water canisters and refill them at water stations for free. Complimentary rPET (recycled PET) water bottles are available while stocks last.

How to Get Tickets and Ticket Guidelines

Clockenflap 2024 tickets are available via Ticketflap. General admission prices are HK$1,990 for a 3-day weekend ticket and HK$1,280 for single-day tickets (Friday, Saturday, or Sunday). For attendees under 18, U18 tickets are priced at HK$1,590 for the 3-day weekend pass and HK$880 for single days. Children under 3 years old can enter for free.

Ticketflap is the only authorized ticketing platform for Clockenflap. Tickets are non-transferable after being scanned at the festival entrance, and the name on the ticket must match the attendee’s photo ID (no photocopies!) upon entry. Name changes can be made any time before scanning by logging into your Ticketflap account and using the “Send Ticket” function. A successful name change should reflect in the recipient’s Ticketflap account for it to be valid.

How to Get to the Venue

Clockenflap 2024 will take place at the Central Harbourfront Event Space near the Hong Kong Observation Wheel (HKOW). The venue is easily accessible by various modes of transportation, so visitors (especially non-locals) don’t have to worry about getting lost.

By bus, you can alight in Central, Admiralty, or at the outlying ferry piers and take a short walk to the site. For those traveling by MTR, the venue is about a 10-minute walk from either Central Station (Exit A) or Hong Kong Station (Exit A2). Ferry passengers can take the Star Ferry to Central and reach the site within a one-minute walk by heading left after disembarking. For taxi riders, alight at the Star Ferry taxi drop-off point and walk straight for up to four minutes until you reach the venue.