
Hong Kong cinema had a terrible time in the early 2000s. Here's why
Although there were ups and downs, the golden age of Hong Kong cinema extended from the 1960s to the 1990s. But significant problems beset the film industry in the first decade of the 2000s, and it suffered a massive slump.
We take a deep dive into its difficult decade. The way we were
Local films used to rule the roost in Hong Kong, beating out Hollywood blockbusters.
The decline set in around 1993, with the situation getting worse throughout the rest of the 1990s. Viewers increasingly preferred the high production values of Hollywood films, and local films lost their dominant position at the box office.
Hong Kong filmmakers did not want to give up without a fight. Special effects were improved for films like The Storm Riders , but they could not match Hollywood's technology. Studios like Media Asia internationalised their films with movies like Purple Storm , but the results were not brilliant. People walk past posters for The Storm Riders outside a cinema in Tsim Sha Tsui in 1998. Photo: SCMP

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


South China Morning Post
4 days ago
- South China Morning Post
For Hong Kong, war films may be more effective as patriotic education
Feel strongly about these letters, or any other aspects of the news? Share your views by emailing us your Letter to the Editor at letters@ or filling in this Google form . Submissions should not exceed 400 words, and must include your full name and address, plus a phone number for verification Advertisement Dead to Rights is no doubt one of the most engrossing films of the year, touching the heart of every Chinese cinema-goer who has caught it. The movie, set against the backdrop of the Nanking massacre, is being released across the globe to bring to the international community the painful story of Chinese resistance to Japanese aggression. There is another film, with a lower profile, that also deserves our attention: the plot of Dongji Rescue unfolds as the Japanese army furtively ships British prisoners of war to Japan, in violation of the Geneva Convention. These POWs were captured in Hong Kong when the Japanese invaded the city. After the ship is torpedoed, the POWs attempt to escape but are fired at by the Japanese army. Enter Chinese fishermen from Dongji, part of the Zhoushan archipelago of Zhejiang province, who display tremendous courage in saving the lives of the British captives. The film is based on a nugget of history that I believe is known to very few people in Hong Kong. Besides the Nanking massacre, the other brutalities that occurred across China during the Japanese invasion should also be told in movies to raise awareness. These films have already got me interested in finding out more about what the Japanese did to the Chinese during that dark period in history. Advertisement Textbooks and other settings of formal education, while important in passing on anguished memories to younger generations, are a less immersive and sensory medium than cinema.


South China Morning Post
03-08-2025
- South China Morning Post
Nanking massacre film speaks to the resilience of ordinary Chinese
Feel strongly about these letters, or any other aspects of the news? Share your views by emailing us your Letter to the Editor at letters@ or filling in this Google form . Submissions should not exceed 400 words, and must include your full name and address, plus a phone number for verification A new Chinese film recounting the Nanking massacre has prompted a national reckoning with history. In its first week in release, Dead to Rights grossed 814 million yuan (US$113 million) and achieved an impressive score of 8.6 out of 10 on Douban, a prominent review platform. This signifies more than box office success. It is a sign of collective engagement with historical memory. Drawing from documented atrocities, the film presents an opportunity for audiences to confront this chapter of World War II. On social media, many have said that although the movie is difficult to watch, it is a must-see. The imagery is haunting – a blood-red river, a blade hovering over an infant. Silence envelopes cinemas across the nation, filling viewers with sorrow and determination: we must remember to guard against any recurrence. For me, the film has deep personal resonance. In my family's ancestral burial ground, deep in the Taihang Mountains in northern China, there stands an empty tomb dedicated to my grandfather's uncle, who was brutally killed during the war of resistance against Japanese aggression, with no remains left. I could only learn through my elders' sighs and laments that he was a man of elegance and the pride of the family.


South China Morning Post
27-06-2025
- South China Morning Post
PostMag wins 2 SOPA 2025 awards for culture reporting and design
PostMag was recognised with two honours at the Society of Publishers in Asia (SOPA) 2025 Awards for Editorial Excellence in a ceremony last night at the JW Marriott Hotel in Hong Kong. The SOPA Awards, widely regarded as the region's most prestigious journalism accolades, celebrate outstanding editorial work across the Asia-Pacific. In the Excellence in Magazine Design category, PostMag received the top honour. 'An elegant, 'quiet' design which allows the wonderful photography to drive the visual interest of the magazine and to do the work of drawing the reader into the content,' the judges wrote in their comments . 'The typographical choices for this revamp very much follow current editorial design styles, contemporising this well-known title.' From left: Cat Nelson, editor of PostMag; Lee Williamson, executive director of SCMP's specialist publications; and Naomi Chan, lead designer of PostMag, with the awards after the prize-giving ceremony. Photo: SOPA SOPA also acknowledged PostMag with an Honourable Mention for Excellence in Arts and Culture Reporting (Regional/Local) for the feature ' Academic bars: craft beer meets intellectual discourse in Shanghai's Bunker, sparking a trend across China ' by Vincent Chow. 'The writing captured the essence of a unique cultural phenomenon that blends casual socialising with academic engagement. Structurally, the piece effectively balances personal narratives with broader societal trends,' read the judges' comments. 'By situating the story within the context of increasing public life controls in China, the article adds depth and relevance, highlighting a grassroots movement fostering open dialogue and community connection.' Cat Nelson (left), editor of PostMag, receiving the SOPA 2025 Honourable Mention for Excellence in Arts and Culture Reporting (Regional) award. Photo: SOPA Earlier this year, PostMag also received recognition at the 2025 Créateurs Design Awards, where Charmaine Chan's ' Metabolism in Motion ' won for Excellence in Creative Journalism. Formerly known as Post Magazine, South China Morning Post's weekly Sunday magazine has been distributed with the Sunday Morning Post since 1989. The title was revitalised and rebranded as PostMag in September 2024. Each issue aims to offer fresh cultural perspectives shaped by a strong visual identity and original reporting from across the region. Advertisement