Filmmaker Peter Chan Ho-sun returned to the Tokyo International Film Festival nearly three decades after his UFO (United Filmmakers Organization) films packed the city’s theaters, reflecting on a career shaped by market forces from Hong Kong’s golden age through Hollywood detours to his current work in mainland China. Speaking at the festival where his 1993 film “He Ain’t Heavy, He’s My Father” and 1994’s “He’s a Woman, She’s a Man” once drew overflow crowds to Shibuya venues, Chan traced his