Hong Kong’s film industry, still grappling with the impacts of the pandemic, is making a surprising recovery with locally produced films that are achieving unprecedented success at the box office. One standout example is The Last Dance, released by Emperor Motion Pictures in November 2024, which has shattered records to become the highest-grossing Hong Kong film of all time. With a box office gross of over $20 million (HK$161 million), it has also claimed the title of the highest-grossing Chinese-language film ever at the Hong Kong box office.
The film has continued its strong performance internationally, grossing more than $800,000 (GBP 620,000) in the UK, where it ranks as the third highest-grossing Hong Kong film of all time, behind Stephen Chow’s Kung Fu Hustle and Wong Kar Wai’s In the Mood for Love. Additionally, it has performed well in other regions such as North America, Australia, New Zealand, and Malaysia, where it earned $4 million (RM 18 million), a territory known for typically favoring action films from Hong Kong.
A director’s cut of The Last Dance is set for release on April 4, 2025, in Hong Kong and other territories, which is expected to further boost its box office earnings. The film has also garnered 18 nominations for the upcoming Hong Kong Film Awards on April 27, making it a strong contender this year. Directed by newcomer Anselm Chan, the film follows the story of a wedding planner (played by Dayo Wong) who teams up with a Taoist priest (portrayed by Michael Hui) to start a funeral services business. It explores Hong Kong’s complex funeral traditions while delving into themes of family, death, grief, religious conflicts, and gender equality, all while maintaining a comedic tone.
Both Wong and Hui, who represent different generations of Hong Kong cinema, bring their unique comedic talents to the film, balancing humor with moments of emotional depth.
Success in Simplicity
Emperor Motion Pictures’ Chief Operating Officer Cecil Yow discussed the factors behind the film’s success. According to Yow, the key to its appeal lies in relatable characters. “Movies with characters people can relate to, rather than relying on big-budget special effects, are the future,” Yow explained. He pointed out that the struggles faced by characters like Michael Hui’s role – a professional who holds onto traditional values but learns a lesson by the end of the film – resonate deeply with audiences. The generational conflicts in the film, such as the sibling rivalry between a son who feels trapped in the family business and his sister’s reaction to his departure, are reflective of issues familiar to many.
While The Last Dance has been a major bright spot, overall box office revenue in Hong Kong has struggled to rebound from the pandemic, with a 6% year-on-year decline in 2024. Factors such as the rise of streaming services, shifts in consumer habits, and a sluggish local economy have contributed to this downturn. Furthermore, high-budget Hong Kong-China co-productions have faced reduced earnings in mainland China, where the box office has also been experiencing slower growth outside of major holiday periods.
A Shift in Strategy for Hong Kong Filmmakers
Despite the broader challenges, Yow remains optimistic, noting that films like The Last Dance and Chinese animation Nezha 2, which grossed over $2 billion, show that audiences are not abandoning the theater experience—they’re simply more selective. “If you have a movie that people can connect with, they will come,” Yow said. “The audience is craving more substance, more meaning.”
This shift in audience preference calls for filmmakers to take risks with fresh ideas and new talents, something not easily done in a market where investors prefer proven formulas. The Last Dance is a prime example of this approach. The film’s director, Anselm Chan, had only directed two smaller comedy films for Emperor Motion Pictures before proposing the idea for The Last Dance. Yow emphasized that despite the film’s sensitive subject matter, which could have easily backfired, Chan’s ability to tell compelling stories won them over.
The film’s casting of Michael Hui and Dayo Wong played a crucial role in its success. Hui, a legend of Hong Kong cinema known for his working-class comedies from the 1970s, and Wong, a contemporary comedic icon, brought a unique chemistry to the screen. “The chemistry between them was just amazing,” said Yow, highlighting how both actors displayed their comedic chops while also embracing more serious roles.
Diverse Storytelling and International Collaboration
Looking ahead, Emperor Motion Pictures plans to develop more films that balance emotional depth with strong, relatable storytelling. However, they have not abandoned their roots in high-budget action films. Upcoming projects include Raging Havoc, a revenge thriller starring Andy Lau and Nicholas Tse, which is currently in post-production.
Yow also expressed interest in exploring comedy with more meaningful narratives, as opposed to the slapstick humor that Hong Kong cinema once dominated. “Audiences are not buying those anymore,” he noted. EMP is also exploring international collaborations, with recent meetings in Taiwan to discuss potential co-productions, as well as looking into production opportunities in Thailand and Malaysia.
“We’re not ruling anything out,” Yow said. “Taiwan has a lot of great talent, and many filmmakers there have a global perspective. We’re also looking at European collaborations, which is something that has been challenging in the past, but the timing feels right now.”
As the Hong Kong film industry navigates a changing landscape, The Last Dance stands as a testament to the power of heartfelt storytelling and the potential for local films to resonate on a global scale.
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