Few film industries have cultivated a cinematic identity as vibrant and influential as Hong Kong’s. With its bustling neon streets, East-meets-West culture, and formidable roster of auteurs and action stars, Hong Kong cinema has long offered an intoxicating blend of arresting visuals, high-octane storytelling, and heartfelt drama. From martial arts epics that revolutionized global action filmmaking to arthouse gems distilling the city’s soul into sumptuous frames, these films have enthralled audiences at home and abroad—including perfect five-star reviews from top outlets.
Below is a curated list of Hong Kong-set classics which span multiple eras, genres, and artistic sensibilities, underscoring not just the depth of Hong Kong filmmaking but also the dazzling creativity that arises from a city perpetually balancing tradition and change.
In the Mood for Love (2000)
Director: Wong Kar-wai
Essential Elements: Romantic yearning; 1960s nostalgia; Tony Leung and Maggie Cheung’s hypnotic performances
It’s no exaggeration to call In the Mood for Love one of modern cinema’s high-water marks—lauded in countless reviews for its artistry, emotion, and achingly beautiful mood. Set against the languorous backdrop of 1960s Hong Kong, the film follows two neighbors who suspect their spouses are having an affair. Their tentative bond, shaped by unspoken desire and societal decorum, unfolds in hushed corridors and dimly lit noodle shops. Director Wong Kar-wai and cinematographer Christopher Doyle compose each frame like a painting, creating a sumptuous masterclass in atmosphere and repressed longing.
Chungking Express (1994)
Director: Wong Kar-wai
Essential Elements: Kinetic romance; nighttime Hong Kong; existential whimsy
Before In the Mood for Love, Wong Kar-wai captured hearts worldwide with this endlessly inventive romance in two parts, set amid the frenetic energy of Tsim Sha Tsui and Central. Chungking Express follows lovesick Hong Kong cops, pineapple cans with expiration dates, and the magnetic unpredictability of the city at night. Critics have bestowed it with top marks for its freewheeling approach, handheld cinematography, and pop-infused soundtrack—all of which epitomize the free spirit of ’90s Hong Kong cinema.
Police Story (1985)
Director: Jackie Chan
Essential Elements: Gravity-defying stunts; comedic timing; heroic cop narrative
Universally praised by action connoisseurs and critics alike, Jackie Chan’s Police Story remains one of the most audacious stunt showcases ever captured on film. Featuring Chan at the peak of his physical prowess, it switches from comedic banter to jaw-dropping fight choreography in an instant. Whether crashing through shopping mall glass or dangling from a speeding bus, Chan’s inventive stunts redefined modern action cinema—and established Hong Kong’s stunt-driven brand in Hollywood’s imagination.
Infernal Affairs (2002)
Directors: Andrew Lau & Alan Mak
Essential Elements: Cat-and-mouse suspense; moral ambiguity; iconic star pairing
Long before Martin Scorsese adapted it into The Departed, Infernal Affairs stunned audiences with a razor-tight plot and top-tier performances. Tony Leung and Andy Lau portray moles (one in the police, one in the mob) locked in a tense game of double identities. Critics praised the film’s nuanced themes of loyalty and identity, hailing its script and direction for breathing new life into the crime thriller genre. A Hong Kong box-office hit that collected five-star accolades across Asia and beyond, Infernal Affairs reaffirmed Hong Kong’s standing as a hub of stylish suspense.
A Better Tomorrow (1986)
Director: John Woo
Essential Elements: Heroic bloodshed; brotherhood; gritty cityscapes
While Police Story revolutionized stunt choreography, John Woo’s A Better Tomorrow ushered in a new wave of “heroic bloodshed” cinema—featuring stylized gunfights, slow-motion duels, and brotherhood under fire. Chow Yun-fat’s effortlessly cool persona (complete with trench coat and sunglasses) became a cultural sensation, while critics lauded the film’s potent mix of emotional drama and virtuosic action. Its success paved the way for Woo’s Hollywood career and showcased Hong Kong’s distinct brand of crime storytelling on the world stage.
Enter the Dragon (1973)
Director: Robert Clouse
Essential Elements: Bruce Lee’s star power; martial arts authenticity; global phenomenon
Among the most famous martial arts films ever produced, Enter the Dragon propelled Bruce Lee to worldwide superstardom—and would be his last completed film. Critics and audiences alike have hailed it with enduring five-star acclaim. Part spy caper and part martial arts showdown, Enter the Dragon highlighted Hong Kong’s fighting styles and iconic locations, leaving an indelible mark on pop culture. Its influence extends to everything from anime to video games, cementing Bruce Lee’s status as a global icon.
Days of Being Wild (1990)
Director: Wong Kar-wai
Essential Elements: Sultry visuals; existential restlessness; moody youth
Credited with solidifying Wong Kar-wai’s signature style, Days of Being Wild offers an introspective look at restless young hearts in 1960s Hong Kong. Leslie Cheung portrays a louche rebel searching for meaning through fleeting romances. Critics applauded the film’s dreamy cinematography and its thematic echoes of Hong Kong’s quest for identity. Less action-driven than its contemporaries, Days of Being Wild still earned five-star praise for its immersive atmosphere and emotional resonance.
Rouge (1987)
Director: Stanley Kwan
Essential Elements: Supernatural romance; time-traveling heartbreak; atmospheric period detail
Rouge bridges the 1930s and 1980s to tell the tragic story of a courtesan (Anita Mui) and her playboy lover (Leslie Cheung), whose doomed romance defies mortality. Critics noted its delicate layering of past and present, praising its period set design and reflective examination of Hong Kong’s evolving identity. Widely acknowledged as a five-star classic, Rouge seamlessly merges the supernatural with a poignant meditation on love and loss.
Comrades: Almost a Love Story (1996)
Director: Peter Chan
Essential Elements: Immigrant experiences; romance; pop-culture homage
Maggie Cheung and Leon Lai deliver stirring performances in this tender tale of two mainland Chinese immigrants chasing their dreams in Hong Kong. Rapturously received by critics—some calling it “the definitive ’90s Hong Kong romance”—Comrades: Almost a Love Story strikes all the right emotional chords and stands as a heartfelt testament to the city’s allure. Its five-star standing among festival critics and local audiences derives from its sensitive portrayal of love in a metropolis that feels both boundless and isolating.
Made in Hong Kong (1997)
Director: Fruit Chan
Essential Elements: Post-handover anxiety; social realism; indie spirit
Released mere months after the 1997 handover, this gritty coming-of-age film resonated with critics for its raw depiction of disaffected youth on the cusp of an uncertain future. Shot on leftover film stock and powered by nonprofessional actors, Made in Hong Kong secured five-star kudos on the festival circuit, celebrated for its honesty and inventiveness. With its half-melancholy, half-hopeful gaze, it epitomizes Hong Kong’s indie cinema at a pivotal historical moment.
The story of Hong Kong cinema is one of perpetual reinvention—from martial arts extravaganzas that reshaped global action to evocative art films that distill the city’s soul. As a crossroads of cultures, politics, and artistic fervor, Hong Kong continues to create cinematic marvels resonating far beyond its borders. These titles symbolize not only the best of Hong Kong cinema but also pivotal chapters in the city’s unfolding narrative.
As the global film industry evolves, Hong Kong filmmakers remain as innovative as ever, using their cameras to explore identity, love, justice, and universal themes in ways that captivate audiences worldwide. It’s no wonder many critics consider these works worthy of that elusive fifth star—like neon signs shining in the Hong Kong night, they illuminate one of the most dynamic movie industries on the planet.
