In The Heavenly Kings three friends with different backgrounds in the Hong Kong entertainment industry decide to form a boy band. Realising that none of them can really sing, they enlist the help of another friend who has released an album in Taiwan. Walking away from a sour record deal, the band, named Alive, surreptitiously releases a song on the Internet, then complains to the press that the catchy tune has been pirated and uploaded illegally. The act generates a wave of publicity that turns the song into a major hit. The trappings of success - music videos, commercial sponsorship, tours - quickly follow, but in the best rock 'n' roll tradition, the road to success is paved with self-destruction. It is tempting to read this mockumentary as a commentary on the fickle and manipulative nature of show business. It is that, of course, but the Film's play between reality, dreams and hype, and its insights into the relationship between 'talent' and marketing, are courageously light-hearted rather than cynical. Wu suggests that what seems to be reality is not always the truth. Clever in its deconstruction of the pop scene, Heavenly Kings is an ideal Film for our reality.