How Hong Kong crime films have evolved in the national security law era
From Donnie Yen’s The Prosecutor to Cold War 1994, recent Hong Kong police thrillers are navigating tightened censorship in ingenious ways
Winner of nine prizes at the 2013 Hong Kong Film Awards (HKFA), the action blockbuster notably aligned itself with an institutional slogan of pride: “Hong Kong is Asia’s safest city.” Yet just 14 years after its release, the cinematic landscape – much like the city itself – has drastically changed.
Opening in cinemas on May 1, the prequel Cold War 1994 signals a fundamental shift in how filmmakers approach the crime genre right from its title: by rewinding to the pre-handover era and pinpointing Britain as the ultimate source of trouble, the film employs a broader, industry-wide survival tactic.
With any negative portrayal of Hong Kong police becoming a potential political issue, the morally ambiguous narratives that once defined local cinema’s golden age – where dirty officers and institutional moles blurred the lines between righteousness and villainy – are no longer viable in a contemporary setting.
However, rather than disappear, the crime thriller has evolved, mutating to fit present-day realities.