Three movies that define the Hong Kong New Wave
The latter half of the 20th century saw important periods of cinematic evolution in countries all around the world, ranging from the incendiary Nouvelle Vague in France to the New Hollywood auteurs in the US. As cinema became an increasingly globalised medium, filmmakers sought inspiration from diverse sources, resulting in the revitalisation of their national cinemas. In this regard, Hong Kong was no different.
Western audiences were already familiar with the action flicks produced by the likes of the Shaw brothers, which had a monumental impact in shaping the future of the genre. However, the Hong Kong New Wave was markedly different from the predominantly popular form of cinematic entertainment in the region, deviating from industry conventions in the pursuit of alternate forms of artistic expression.
Originating in the late 1970s, the movement has been retroactively separated into two separate waves, but it wasn’t an organised effort in any way. The major directors had their own distinct styles and techniques, emerging as a part of a sudden outburst of fresh aesthetic sensibilities within Hong Kong cinema, but due to their collective impact, it is definitely appropriate to consider it alongside the new waves that swept other cinematic industries.
Moving away from commercial priorities and rigid studio productions to filming on location and incorporating newly developed technology, the New Wave pioneers ushered in a new era which inspired new generations of aspiring artists to think outside the box. Even though there are many important works that could be considered to be a part of this corpus, a handful of masterpieces are perfect representations of the period’s artistic spirit.
Three definitive Hong Kong New Wave movies:
1. Dangerous Encounters of the First Kind (Tsui Hark, 1980)
In many ways one of the quintessential New Wave gems not only cinematically but also because of the sociopolitical response it generated, Tsui Hark’s Dangerous Encounters of the First Kind is a staple of Asian cinema in general. Featuring a disturbing story about a beautiful woman who manipulates three young men into real degeneracy, it’s explosive and bold.
Even though Hong Kong cinema became globally renowned for its action movies, the censor boards were completely appalled by the graphic violence that Tsui Hark depicted in Dangerous Encounters of the First Kind. Because of and not despite being initially banned, public interest in the film surged, which resulted in massive box office numbers when an edited version was eventually released.
Precursors of the shock crime thrillers that modern audiences are familiar with can be found all over this 1980 gem, making it a seminal work that survived possible extinction only to emerge as a beloved classic.
2. Boat People (Ann Hui, 1982)
Very different in tone from the first movie on this list, Ann Hui’s 1982 masterpiece Boat People is one of the most acclaimed Hong Kong New Wave works, even though it is not set in Hong Kong. A part of Hui’s Vietnam trilogy, it explores the bleak sociopolitical situation in Vietnam following the Fall of Saigon from the perspective of a Japanese photojournalist, who is an outsider like most of the audience.
Hui’s interest in the subject was sparked by her interactions with several Vietnamese refugees who migrated to Hong Kong in the late ’70s because of the country’s dire condition. Her personal connection to the material is abundantly clear from the delicate way in which she handles the narrative, piecing together haunting images of suffering and chaos.
Due to its critique of the socialist government in the country, many denounced it as anti-Vietnam propaganda, but anyone who has watched Boat People will immediately rush to its defence because Hui’s focus is solely on purely human concerns, which is what makes it so moving.
3. Chungking Express (Wong Kar-wai, 1994)
Although many fans consider Wong Kar-wai’s magnum opus to be In the Mood for Love, it is his 1994 romcom Chungking Express that exemplifies the New Wave spirit the best. Featuring an incredible cast comprising Takeshi Kaneshiro, Faye Wong, Brigitte Lin, and Tony Leung, Wong’s beloved ’90s gem is almost like the great city symphonies that defined cinema during its silent era.
Separated into two different segments but with intersecting narratives, Chungking Express uses the unique stories of two police officers to deliver an unforgettable commentary on love, loneliness, heartbreak, and so much more. Inspired by MTV aesthetics and equipped with a soundtrack that burrows right into your brain, it’s a film that stays with you for a long time.
Chungking Express captures the frenetic energy of modern Hong Kong like few others, highlighting its multicultural ethos while also making us contemplate the ever-changing landscape of the historic city, now dominated by symbols of globalisation and capitalism.
