Shock Wave 2 (拆彈專家2, Herman Yau, 2020)

“Anger can destroy everything” according to the voiceover opening Herman Yau’s Shock Wave 2 (拆彈專家2), a thematic sequel to the original Shock Wave once again starring Andy Lau as a Hong Kong police bomb disposal officer battling serious threat to the island’s transport infrastructure but also picking up themes from the pair’s subsequent collaboration White Storm 2 in which the veteran actor had starred against type as a Batman-esque billionaire vigilante fighting a one man war on drugs. The villains here claim they want “change”, but in reality want little more than to burn the world, enraged by its refusal to recognise or remember them consumed as they are by wounded male pride. 

The hero, Fung (Andy Lau Tak-wah), finds himself suffering from amnesia after encountering the second serious accident of his professional life. When we first meet him, he’s essentially playing the same role as the first film, a cheerful, slightly cocky bomb disposal expert with a potentially reckless streak born of his willingness to risk his own life to save those of others. When he’s injured on a job, tricked by a random booby trap while trying to free a trapped cat, and loses his leg he reacts with characteristically upbeat stoicism quickly adjusting to his new prosthesis and determined to get back to work, training intensely with the help of his friend Tung (Sean Lau Ching-wan) who was also injured in the same blast only not so seriously. Despite passing all the fitness criteria Fung is fobbed off with an offer of a desk job in police PR, refused a return to the bomb squad as the panel quite openly admit not so much because they feel his disability impairs his ability to do the job as they fear public blowback should something go wrong and they be blamed for having hired a disabled person in the first place. 

It’s less a sense of discrimination than unfairness that fuels Fung’s growing sense of anger and resentment not only towards the police force but towards society in general which he now feels regards human beings as little more than disposable tools. He rejects the sense of himself as “disabled”, internalising a sense of societal shame keen to remind everyone that he is not impaired proving himself capable above and beyond the force’s criteria but is still rejected while Tung, who suffered only minor burns, is permitted to return to duty and even gets a promotion. His friends later recount that he became a different person after the accident, angry and embittered as if at war with the world. 

Yet after encountering a second accident, Fung loses his declarative memory which is to say he still has his everyday skills such as walking around (including using a prosthesis), getting dressed, brushing his teeth, using a computer and presumably the mechanics of bomb disposal but no longer remembers his own name or how he ended up in hospital now at least implicated in an act of major terrorism. Without his memories, Fung is a blank slate, freed from all the trauma and resentment that may have pushed him towards the dark side and returned to the innate goodness of a soul untouched by the world’s cruelty. The question is, which way will he turn, back towards the darkness or further into the light as the Fung they once new who willingly risked his life for others? In any case, he finds himself potentially misused by his well meaning ex Pong Ling (Ni Ni) who engages in some dubious psychology involving false memory implantation to convince him that he’s been working for the Hong Kong police undercover, hoping to engineer a softer landing for him than the realisation that he may be responsible for the deaths of at least 18 people as a member of an anarchist sect going under the apt name of “Vendetta”. 

Like Fung, the leader of Vendetta is an angry man resentful of having been forgotten by someone he cared about who had simply grown away from him. He rages against the world partly as a consequence of his aimless privilege having discovered his wealthy family made their money peddling opium with the assistance of the colonial authorities, but also as a direct result of childhood bullying and frustrated male friendship. Vendetta claims it wants to stop the world from getting “worse”, but all it really has is anger and the intense hurt of wounded pride. These men refuse to be “KO’d by this sick society” but in the end all they want is to be seen, to be recognised and remembered. To ease their sense of belittlement and impotence, they plan to burn the world by literally severing connections with it. 

Yau takes aim at the various systems which generate this kind of anger, hinting at the shockwaves of ingrained societal discrimination even if Fung internalises a sense of stigmatisation in his intense need to prove himself free of “disability”. Robbed of his memories, Fung’s anger dissipates allowing his natural capacity for selfless heroism to resurface along with a healthy desire to reflect on his own behaviour, at least as much as can he rely on the sometimes duplicitous vagaries of memory both his own and that of others as he searches for the truth of himself and his “vendetta” with the world. Torn between risking his life to save others and blowing it all to hell, Fung ends up doing both, sending shockwaves throughout his society in a deeply ambivalent act of personal and societal redemption. 


Shock Wave 2 is available to stream in the UK until 12th May as part of the Chinese Cinema Season. It will also be released on DVD/blu-ray on 7th June and digitally on 14th June courtesy of Cine Asia.

UK release trailer (English subtitles)

Office (華麗上班族, Johnnie To, 2015)

Johnnie To office poster 1Can love and capitalism walk hand in hand? Perhaps not, at least in Johnnie To’s beautifully choreographed musical exploration of high stakes finance and moral bankruptcy, Office (華麗上班族). Adapted from Sylvia Chang’s stage play, Office situates itself on the edge of an abyss as the 2008 financial crisis edges its way towards Hong Kong while enterprising businessmen try to figure out how to ride the waves even if that means standing on someone else’s shoulders as they sink deeper into the moral morass that is the modern economy.

Top Hong Kong trading company Jones & Sunn is about to go public. CEO Winnie Chang (Sylvia Chang) has long been running the show for her boss and lover, Chairman Ho (Chow Yun-fat), who has promised her a sizeable dividend once the floatation is complete. Meanwhile, two new interns have just joined the company, eager to make their marks in the corporate world and ensure they survive their three month probation. Bright-eyed and bushy-tailed Li Xiang (Wang Ziyi), “Lee like Ang Lee, Xiang like dream”, just wants to work hard and get rich so he can live a nice life, while his colleague Kat Ho (Lang Yueting) has just returned from studying economics at Harvard and appears to be slumming it in a lowly internship while (unconvincingly) pretending to be from a humble background. The funny thing is no one seems to pick up on the fact Kat has the same surname as the company’s owner, or they might have figured out she’s the boss’ daughter either forced to learn the trade from the ground up or working as a spy among the regular employees. In any case, Li Xiang is smitten.

Love, it seems, is the destabilising force at the centre of this great machine. CEO Chang, an all powerful woman in a male dominated industry, rules the office with a will of iron but allows herself to be manipulated by Ho with whom she has been having a longstanding affair. Ho has a wife in a coma, but neither of the pair object to the office gossip which brands Chang as “Mrs. Ho”, seeing it only as cutely romantic rather than a slight on Chang’s very real authority. Meanwhile, lonely in Ho’s lack of serious commitment, Chang has also been sleeping with her favourite underling, the feted David (Eason Chan), who in turn is getting fed up with feeling like a spare part who’s hit the peak of his career. Unbeknownst to Chang who may have taken her all-seeing eye off the ball, David has started playing with fire in gambling with company money and losing badly. As a counter measure, he’s begun romancing lovelorn accountant Sophie (Tang Wei), who unlike Chang, is still facing the work/home dilemma in that her fiancé back on the Mainland is pressuring her to give up work and settle down.

Li Xiang is very keen on following his “dreams” which in the beginning are charmingly naive – he wants a nice life for himself and the ability to pay off his friends’ debts (seemingly for entirely altruistic reasons, not as an excuse to show off). Slowly, however, his new world begins to corrupt him. He’s irritated that he’s not allowed to ride the executive elevator and badly wants in, but is still green enough to chivalrously cover up for Kat’s mistakes, while Kat is so clueless that she forgets turning up to work in designer outfits and in a chauffeur driven car is going to blow her cover. Li Xiang sees through her, but only to the nice part – it never really occurs to him she’s a mole or planning to betray Mrs. Chang who is kind of her step-mother. Chang isn’t blind to office politics. She sees Li Xiang take the blame for Kat and even likes him for it. She also likes his “originality” and plans to take him under her wing for her new expansionist plans but finds herself once again blindsided by all the difficult romantic drama bubbling under the surface of coldhearted capitalism.

David and Sophie decide they want to start a “love revolution”, but David has already gone to a dark place and his romantic confession is immediately followed by a manipulative request to get Sophie to help him with his nefarious plans. Meanwhile, Li Xiang’s gradual descent into corporatism begins to sour Kat who’d taken a liking to him because he wasn’t like everyone else. They didn’t mean to do it, but they’ve betrayed themselves and others in their relentless pursuit of conventional success. Drunken salarymen at a local bar ask themselves what all of this is for when their kids don’t recognise them and they barely recognise themselves, yet no one quite has the guts to get off the corporate train and go do something else.

In To’s elaborate set design, no one is ever truly able to leave the office. An elegant construction of neon and steel, the abstract theatricality of To’s artificial universe only underlines its essential meaninglessness – something the Office’s denizens eventually come to understand whether they choose to stay or not. As Chang quips, smart guys control money and stupid ones are controlled by it, but she herself is wise enough to know when the game is up and it’s time to move on. Did love destroy the system or did the system destroy love? Beautiful melodies telling us terrible things, To’s anti-capitalist musical crushes its earnest heroes under the wheel of progress while they dance blithely all the way over the edge.


Office screens in Chicago on Oct. 5 as part of Asian Pop-Up Cinema.

Original trailer (English subtitles)