Hit N Fun (臨時決鬥, Albert Mak Kai-Kwong, 2025)

“There’s no point looking back,” according to the heroes of Albert Mak Kai-Kwong’s surreal Muay Thai comedy Hit N Fun (臨時決鬥), but then again it seems like victory lies in staying in the ring. No matter how many times you lose, you have to keep fighting because precisely because you have no expectation of winning. Bruce’s (Louis Koo Tin-lok) gym in Macao is then a remnant of a world on the brink of eclipse that he’s been desperately trying to cling on to only to come to the slow realisation that it may be time to let it go.

His wife Carrie (Gigi Leung Wing-kei) is experiencing something similar after trying to make a comeback as an actress. A promising opportunity goes awry when she realises it’s for an advert for a menopausal tonic and protests that’s she’s far too young for all that but is immediately shut down by the producer, Elsa (Louise Wong Tan-ni), who says she doesn’t even know who she is but is only using her as a favour to her aunt, Bridget (Harriet Yeung), who is Carrie’s manager. Carrie complains that she can’t get a foothold in the contemporary cinema scene partly because of a dearth of parts for women her age, while she’s equally too afraid to let go of ingenue roles and her image of herself as one to make the irreversible shift to playing mothers of adult women. But then it also seems that you can’t get anywhere without a huge following on social media, which is largely powered by young actors from big agencies with hundreds and thousands of fans. 

Meanwhile, Elsa can’t let go of her long-term boyfriend Daniel (Peter Chan Charm-man) who has been unsuccessfully trying to break up with her but has not yet disclosed that he’s now in a relationship with Surewin (Chrissie Chau Sau-na), a Muay Thai champion who started out at Bruce’s gym but left with his best student, Arnold (German Cheung), to start up on their own. Unlike Bruce’s traditional gym, Arnold’s is a slick, modern facility that pushes expensive package subscriptions and has a sideline in merchandising and fitness-related goods. In many ways the battle is between the wholesome sense of community presented by Bruce’s rundown school, and Arnold’s soulless corporate enterprise which doesn’t even really care that much about Muay Thai anymore.

Then again, the unlikely champion of this wholesomeness is Elsa, who decides she has to fight Surewin not exactly for Daniel but to avenge and vindicate herself. Even though it’s very unlikely that she could really beat a champion after an intense three months of training, Elsa is determined to give it a go more out of stubbornness and pride than anything else. But then all she really needs to do is stick around, much like Bruce. Elsa only needs to be standing after four rounds and as Bruce is fond of reminding her, if the final bell hasn’t rung, then you haven’t lost yet. 

While training at the gym, Elsa begins to loosen up a bit and shifts more towards the world of Bruce’s gym than her high-powered job that is founded in consumerism and geared towards selling people things they don’t want or need to distract them from a sense of dissatisfaction about their lives. But on the other hand, perhaps there’s no point in the kind of stubbornness that prevents you from moving forward. Bruce has an old leather sandbag in his gym that seems to embody its soul, yet it’s already leaking sand as if the building itself were bleeding. Ironically, it’s Arnold who eventually tries to save it while Bruce seems resigned.

What they reach seems to be a kind of compromise, utilising Elsa’s skills to modernise and expand the gym, which is really just another way of fighting if also perhaps a concession and decision to leave something behind. You could also read this as an allegory for the Hong Kong film industry which is increasingly leaning towards the Mainland but still hanging on though some might say losing its soul in softening any hint of localness. On the other hand, Hit N Fun is quite defiantly a homegrown comedy starring some of the biggest local stars from Louis Koo and Gigi Leung to Tony Wu and the rising star Louise Wong. It ultimately seems to say, we’re still here, and we’ll pick our battles, but we’ll keep fighting even if we can’t win because perseverance can be a victory in itself.


Trailer (Traditional Chinese / English subtitles)

Twilight of the Warriors: Walled In (九龍城寨.圍城, Soi Cheang, 2024)

In Kowloon Walled City, you give help, you get help. Sometimes described as a colony within a colony, by the late 1980s the settlement was largely ungovernable and literal law unto itself save for the triads who maintained what little order there was. Yet in Soi Cheang’s Twilight of the Warriors: Walled In (九龍城寨.圍城) it’s a place of comfort and security, a well functioning community that as its leader Cyclone (Louis Koo Tin-lok) points out may be unpalatable for “normal” people but provides a point of refuge for the exiled and hopeless.

It’s difficult not to read it and Cyclone himself as embodiments of Hong Kong that is slowly disappearing. Dying of lung cancer, Cyclone is aligned with the fate of the walled city as someone whose time is running out, tired and world weary but still hanging on. In the opening sequence set 20 or so years before, we see Cyclone stand up to an apparent dictatorship and institute what seems to be a more egalitarian form of government though one obviously defined by violence. Nevertheless, when refugee Lok (Raymond Lam Wui Man) lands up there originally suspicious of Cyclone having been duped by local gangster Mr Big (Sammo Hung Kam-bo), he discovers him to be a stand up guy looking after those in his community and generally keeping the peace. Nevertheless, Lok’s arrival is the fatalistic catalyst for the opening of old wounds amid the free for all of the mid-80s society in which the Walled City, sure to be bulldozed, has just become a lucrative property investment.

Mr Big and his crazed henchman King represent this new order, amoral capitalistic consumerists who care little for the conventional rules of gangsterdom. Their bid to seize the Walled City has its obvious overtones as they seek to replace the (generally) peaceful egalitarian rule of Cyclone with something that appears much more authoritarian and ruthless. Believing himself to be a stateless orphan, Lok tries to keep his head down saving everything he can to buy a fake Hong Kong ID card which is also in its way a quest for identity not to mention a homeland and a sense of belonging. He finds all of these things, along with a surrogate father figure, in the Walled City only to have the new home he’s discovered for himself ripped out from under him because of a twist of fate. When he teams up with a trio of other young men who all owe their lives to Cyclone and the Walled City to attempt to take it back, it’s also an attempt to reclaim an older, more autonomous Hong Kong that exists outside of any kind of colonial control as evidenced by his final statement that no matter what happens some things don’t change.

This sensibility extends to the casting of the film which includes a series of Hong Kong legends including a notable appearance from the legendary Sammo Hung not to mention Louis Koo alongside a generation of younger stars such as Tony Wu and Terrance Lau Chun-him. Adapted from the manhua City of Darkness by Andy Seto, the film opens with a flashback to the original war for control of the Walled City that hints at deeper, extended backstories otherwise unexplored though equally mythologised by those who impart them to them Lok, a prodigal son and eventual inheritor of the City’s legacy. Even so, the comic book elements sometime distract from Soi Cheang’s otherwise evocative if hyperreal recreation of the Walled City slum or the political subtext that can be inferred in the presence of supernatural abilities such as those which seem to grant King near invincibility.

In any case, Soi Cheang looks back equally towards the history of heroic bloodshed in particular in his tale of brotherhood and loyalty in which the secondary antagonist is literally imprisoned by his own futile desire for a pointless vengeance on the descendent of a man who had wronged him but was already long dead himself. As he’d said, the future of the Walled City is in the hands of the younger generation who choose to end the cycle by setting him free rather than imprison themselves along with him while defending their home as well as they can. With some incredibly well designed action sequences including one that make its way onto a double-decker bus, Soi Cheang’s beautifully staged action thriller as its name suggests has a rather elegiac quality but also the spirit of resistance in its gentle advocation for the importance of supportive communities.


Twilight of the Warriors: Walled In is in UK cinemas from 24th May courtesy of CineAsia.

UK trailer (Traditional Chinese & English subtitles)