“Made in Hong Kong” directed by Fruit Chan delves into the subjects of urban space and social marginalization, with a specific focus on public housing estates in Hong Kong. The film juxtaposes the bustling yet prosperous atmosphere of “Dream of Stardom” with visuals portraying the departure of the middle and upper-middle-class elites in the 1980s and 90s, symbolizing a heavy shift in societal dynamics. It carries a personal essence, as the director draws from her own experiences in a public housing estate to craft a narrative that revolves around the poorer communities in Hong Kong. The film highlights the interconnectedness of the urban landscape and social inequality, revealing how socio-political factors can contribute to dissatisfaction among residents residing in economically disadvantaged areas.
This reading points out how the film showcases the darker sides of Hong Kong that cannot usually be seen through monster or cyber future movies commonly set in this city. To me, it feels like it is a film for the people of Hong Kong and not for the international scale, as also seen in the title. The concept of the “ghostly” in “Made in Hong Kong” challenges traditional perceptions of urban spaces and societal structures by portraying public housing estates as haunted by a sense of neglect, decay, and social marginality, as if the unsatisfied people in that building are the ghosts themselves. It challenges the way the viewer sees marginalized communities within the city, which often do not have a voice. The film shines a new light on social inequality and the struggle for belonging in a rapidly changing and modernizing city.