The Hong Kong film industry has risen from the doldrums of the pandemic with the rise of local films gaining prominence and high box office grosses in 2024. This is best personified with Soi Cheang’s neo-noir action extravaganza TWILIGHT OF THE WARRIORS: WALLED IN broke box office records and kicked off a new franchise in the vein of INFERNAL AFFAIRS, A BETTER TOMORROW, and IP MAN among other stalwart IP.
Another factor driving the success of the Hong Kong film industry in 2024 was its renewed focus on local talent and culturally resonant storytelling. After a period of decline where the industry struggled with identity and market competition, there was a deliberate shift towards nurturing homegrown talent. Local filmmakers, actors, and writers were given more opportunities and support, leading to a renaissance of creativity.
Film festivals and international markets played a crucial role in this process, providing Hong Kong films with platforms to reach global audiences. The city’s long-standing presence in major film festivals, such as Cannes, Venice, and Berlin, continued to be a vital avenue for promoting its films. Additionally, Hong Kong’s participation in international co-productions and grant support, and project markets via HAF every spring increased, allowing local filmmakers to work with global talent and resources, further enhancing the international appeal of their films.
This year’s SPOTLIGHT ON HONG KONG is very much a representation of the local—a stellar collection of Hong Kong films that showcase big stars (Sandra Ng, who is this year’s SPOTLIGHT ON HONG KONG FILMMAKER IN PROFILE in LOVE LIES; comedy kings Dayo Wong and Michael Hui in THE LAST DANCE), a painstakingly restored classic of Tsui Hark’s SHANGHAI BLUES; FLY ME TO THE MOON from newcomer Sasha Chuk; Ray Yeung’s third feature ALL SHALL BE WELL; and an old school “film within a film” with STUNTMAN from stunt performer twins turned directors Albert and Herbert Leung—showcases the diversity of class, gender and sexuality of Hong Kong life.
In this year’s Spotlight represents a glimmer of Hong Kong’s glory days of the late 20th century, as it goes through growing pains in the marketplace—audience’s evolving viewing consumption, cultural and economic shifts as Hong Kong reintegrates with Mainland China’s policies, and the continuing post-pandemic after effects—a pathway looking forward as the box office slowly recovers. What is encouraging is the new crop of filmmakers and established stars continuing the retain the unique, local flavors of what makes Hong Kong, “Hong Kong.”
