The momentum in which MADE IN HONG KONG opens, is reminiscent of 1960’s BREATHLESS. The Hong Kong world of the film is akin to the Paris of the 60s.  Both were a play ground of opportunity and money. Rapidly trying to get some where but out stripping many people from the chance of a better life and focusing the money into the hands of a few lucky souls. It shares much with that film. A tale of two fractured youths, navigating a world of petty crime, sex and being under motivated to change it because they cant.

Autumn Moon (Sam Lee) has dropped out of high school.  Becoming a money collector for criminals. His mother has to work to keep him as his father has another family. Autumn Moon meets and falls in love with Ping (Neiky Yim Hui-Chi), a daughter of a serious debtor. She needs a kidney transplant, it means she cant work and to pay for it she needs to borrow. Autumn Moon takes on contracts to kill people in order to pay more and move up in the world. This leads him to a path darker and deadly. 

Now the changes in Hong Kong are massive from then to now. We have the housing units today, priced out of anyone but the super rich hands. We have the control of China, bent to force the will of the party on them. Then you have the rise in apparent acts of criminality, dubious as it seems political. MADE IN HONG KONG delves into youthful despair like few films before of since. The word nihilist floats around this like a stone. It is justified but it is also a part of growing up. Having no place in the world. Having no entry point or control of your life, you are apt to become angry. Autumn Moon is and is played wonderfully as a man without hope. Director Chan uses Hong Kong like its an oven of heartlessness, this is what makes the film resonant.


So the 4K master has allowed for the subtle light changes to become more transparent. Finally we see the luminous light, warm tones, blown out whites and the suicide scene as a hue of blue. This is excellent. The grain and focus is as good as the DVD occasionally.



  • 1080p presentation on Blu-ray from a 4K digital restoration
  • Uncompressed LPCM 2.0 audio
  • Optional English subtitles
  • New interview with director Fruit Chan
  • New interview with producer Doris Yang
  • New interview with producer Daniel Yu
  • New interview with Marco Muller, former director of the Locarno Film Festival
  • A collector s booklet featuring new writing by film historian Alexandra Heller-Nicholas; and an archival interview with director Fruit Chan

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