Hong Kong Intelligence Report #162 港片《風林火山》受打壓抵制的背景分析
- Ryota Nakanishi
- Oct 5
- 12 min read
Open-source intelligence (OSINT)

🔻 IMPORTANT 【重要】港片《風林火山》
▪️麥浚龍導演的港片《風林火山》(Sons of the Neon Night, 2025)公開後連日遭到抵制。其背後有何背景?筆者近日特地觀察本港境內情況和親自觀賞了港片《風林火山》(Sons of the Neon Night, 2025)。我在此簡述身為香港永久居民的筆者在港直接了解到的事情。首先向兩位日本藝術家金城武和已故學長坂本龍一致敬。
麥浚龍導演的港片《風林火山》(Sons of the Neon Night, 2025)不是支離破碎的,而是獲得最適當時期上映的。這不止意味著內地黃金週,或中秋節假期,而是政治經濟社會狀況。雖本片的故事年代是虛構的回歸前1990年代,但本片確實體現2025年香港社會的精神樣態和氣圍。其主題和內涵其實是簡單的,即貪一個字。更具體而言,麥浚龍導演的港片《風林火山》(Sons of the Neon Night, 2025)比《無間道》(Infernal Affairs, 2002) 更進一步批判香港社會‘病狀’的,或是資本主義居民‘生態’的。即本片中,王志達(劉青雲飾演)的毒品調查科探員是個概括性形象之一,為了個人自己家庭移民或安寧或富裕而不擇手段,毒辣地陷害周遭的一樣有家庭的人們。昔日摯友,今日突然變敵人,或一個小時前的親人,兩小時後,藉機突變,翻臉,貪圖小利或大利。這就是香港真實的個人主義極端主義。換言之,人格設計不再是武俠片或一般套裝戲的固定人物言行模式,而是更接近現實的‘無常多變’。片中,即使職業殺手程文星(古天樂飾演)在有一次聚餐時有一點親情透露,但苦海無邊,罪惡多端,這座貪婪城市內,任何人都無法全面透露人情,透露也不夠真實,是因為這等於一樣想要透露人情的他‘工作’的受害者們已都被他犧牲掉了。自私自利,自相矛盾。孔教的封建禮教文化已被資本主義徹底熄滅。本片中,不下雪的東南亞城市香港卻下雪。這表明香港社會狀況失常。開頭的銅鑼灣恐怖襲擊事件是歸根結底,屬於內因,而非歸責於外因,終極來源是官商勾結。這也是十分真實和恰當的敘事。主角李霧童(金城武飾演)是本港壟斷資本財閥的藝術化的人格。李家壟斷香港社會命脈的同時控制三合會的毒品交易(沒有官商支持,任何社會的黑社會是無法存在的)。麥浚龍導演不跟隨港片的逃避主義安全路線及武俠小說神話故事模式。同時,總督察狄文傑(梁家輝飾演)代表港府深深參與毒品交易。這就是為何本港一直無法擺脫毒品交易的元兇。為何本港三合會猖獗?自從鴉片戰爭以來無法杜絕官商勾結?不管是現實還是故事,本片都是個藝術化的真實回答。所謂‘裙帶’或‘裙帶關係’是貫穿鏡頭間的另一個主題概念。經過本片中點,即李霧童要求港府為李家長子逃犯李文狄(杜德偉飾演)而獲得港府特別安排讓他回港參加被三合會臥底警員麥俊賢炸死的李家橋言集團創始人李珀山(王德順飾演)葬禮之後,一直到最後本片曝光了原來是最大的毒梟是港府(總督察狄文傑代表),於是狄文傑在葬禮中一舉槍斃李家繼承人的主角李霧童和李文狄。這樣,財閥的毒品帝國一下子全手弄到港府手裏,準確一點,本港毒品交易的市場份額被轉移到它跟其他三合會財閥手裡。這已經講到了本片的重點和內涵。
此外,我已經確認了本片受打壓的一些理由:
1. 本片是史上最大資金規模的中港合作片,因此受打壓的真實理由是隱形的政治理由。有些勢力有足夠的理由不希望本片的成功。
2. 十月四日多次遇到顯示‘幾千人排隊中’的網購系統受干擾的情形。系統化干擾是立法會的網站也在九月遇到的‘軟對抗’。
3. 正如宮崎駿的《蒼鷺與少年》(The Boy and the Heron, 2023)一樣,不付行規性質的龐大廣告費,那些搜尋引擎,身為廣告公司的所謂媒體都群體討伐有關影片是個普遍現象和傾向。港片《風林火山》(Sons of the Neon Night, 2025)也是不靠廣告(界)的影片行銷策略。當然不是沒有宣傳工作隊和零宣傳,只是沒有付出大規模廣告費給各方而已。按照慣例,不付廣告費給主要廣告公司的後果是,自動遭受反行銷的種種不便和抵制。筆者有關本片的正面評論也在中文版的某平台被遮蔽,但在英文版則沒事。廣告界的勢力真的蓄意打壓本片。
4. 本片,剪輯正確無誤,麥浚龍導演批判社會的方式是純藝術化的,而不是直接文字。本片不但非空洞,也不算支離破碎。震撼香港市民的一點是,本片以個別角色給香港市民看到了香港市民貪圖的個人主義多麼毒辣(如王志達)。不少市民其實看到了他們自己。有人因此中途離場了。甚至,不像回歸後的本港片慣例,麥浚龍導演的本片絕非官僚的廣告片。本片揭露的最大的毒梟是港府自己。沒有一個是全面好人是真實的狀況。本片確實打破了腐朽敘事的框框。
5. 戲是拿出任何部分都是戲。這包括戲中戲。平行世界也是貫穿一樣主題的戲。本片故事結束後的酒吧場面也可以當作戲來看而已。跟其他戲部分沒有差異,是因為都是鏡頭內的戲,鏡頭之間的戲。《風林火山》(Sons of the Neon Night, 2025)的確比《殭屍》(Rigor Mortis, 2013)的戲中戲更進一步並列了前後生死矛盾的戲後戲,但它仍然是平行世界的其中可能的戲之一,甚至還只是一樣主題貫穿的戲。這個極端是《西伯利亞超特急 / Siberian Express》(水野晴郎導演,1996年),後者甚至在幕後花絮的戲中還進一步搬出一點戲後,踏入另一層次的幕後花絮的戲中。但都是講述的反戰主題一貫。換言之,拿出任何戲的次元,都是戲。其中重點是主題一貫。
6. 金城武出色。本片中,他把壟斷資本的繼承人提高到了charisma的藝術形象。其他任何香港演員都無法做到這點。相對的,劉青雲和古天樂則是非常本地化的,土俗的本地男性形象。本片中,他們所謂精英的形象被撕破了,反而更真實的反映了本港的公關人物虛構性(一般香港電影)。
7. 已故坂本龍一的配樂,尤其是令我在閉幕時無法離坐了。值得一聽。
一言以蔽之,麥浚龍導演的港片《風林火山》(Sons of the Neon Night, 2025)是部稀有的香港電影傑作,實屬第一流的品質。這也是個最佳機會能夠觀察當創作者不依賴廣告界總動員的‘造神運動’,就會發生什麼,到底是什麼樣的社會機制發揮負面破壞作用。筆者不願看到金城武和已故坂本龍一的作品遭受無謂的踐踏。本片遭受的是高度隱形的,不透露意圖的,實屬政治化的打壓和抵制。本港市民要看清楚。
Director Juno Mak's Hong Kong film Sons of the Neon Night (2025) encountered successive days of negative campaigns following its release. The underlying factors contributing to this phenomenon warrant further investigation. The author recently observed the situation within Hong Kong and personally watched Sons of the Neon Night (2025). As a Hong Kong permanent resident, I will offer a preliminary account of my personal observations. Firstly, it is essential to acknowledge the contributions of two Japanese artists: Takeshi Kaneshiro and the late Ryuichi Sakamoto.
Director Juno Mak's Hong Kong film Sons of the Neon Night (2025) is not fragmented; rather, it has been released at the most opportune time. This phenomenon extends beyond the confines of the mainland's Golden Week or Mid-Autumn Festival holidays, encompassing the prevailing political, economic, and social climate. Despite being set in the fictional pre-handover 1990s, the film authentically captures the spirit and atmosphere of Hong Kong society in 2025. The film's thematic and moral underpinnings are unambiguous: the pursuit of personal gain. A more precise analysis can be found in director Juno Mak's Hong Kong film Sons of the Neon Night (2025), which offers a more incisive critique of Hong Kong society's 'pathology'—or the 'ecology' of its capitalist inhabitants—than Infernal Affairs (2002). In this film, Wang Zhida (portrayed by Sean Lau) represents an archetype of this phenomenon. In order to ensure the immigration, peace, or wealth of his family, he engages in ruthless actions, including the malicious framing of others with families. Conversely, interpersonal relationships can undergo a rapid and unexpected transformation, leading to the emergence of enmity. Individuals who were previously close associates can find themselves in opposition, and even relatives who were in agreement just a short time ago can, over the course of a few hours, become adversaries. These shifts in allegiance are often driven by the pursuit of modest or significant advantages, whether financial or otherwise. This phenomenon represents the extreme individualism that is characteristic of Hong Kong. In essence, the character design in these films no longer adheres to the conventional patterns characteristic of martial arts films or traditional costume dramas. Instead, it aligns with the dynamic and ever-evolving nature of reality, as depicted in the ever-changing costumes and styles. In the film, even the professional assassin Cheng Wenxing (played by Louis Koo) briefly exhibits a trace of humanity during a dinner gathering. However, within the confines of this vast and profoundly challenging environment, characterized by incessant strife and a pervasive atmosphere of exploitation, it becomes exceedingly difficult for any individual to genuinely embody or convey authentic human compassion. Such expressions are devoid of substance, as they suggest that the individual has already made the ultimate sacrifice, sacrificing those who sought to partake in the warmth he offered—the very victims of his "work." Self-centeredness and inconsistency prevail. Confucian feudal ethics have been thoroughly eradicated by the advent of capitalism. In this film, Hong Kong—a Southeast Asian city where snow is unheard of—is depicted as being covered in snow. This phenomenon is indicative of Hong Kong's atypical social structure. The initial terrorist attack in Causeway Bay is ultimately attributable to internal factors rather than external influences, with its underlying cause being a collusion between government entities and commercial enterprises. This narrative is characterized by its realistic depiction of the subject matter and its precision in capturing the essence of the topic. The protagonist, Li Wutong (portrayed by Takeshi Kaneshiro), personifies the artistic persona of Hong Kong's monopolistic capitalist tycoons. The Li family exerts a dominant influence over Hong Kong's vital resources while orchestrating the triads' illicit drug trade. The proliferation of organized crime in society is inextricably linked to the existence of government-business support. Director Juno Mak eschews the escapist safety net of typical Hong Kong cinema and the mythical tropes of martial arts novels. Concurrently, Superintendent Di Wenjie (portrayed by Tony Leung Ka-fai) symbolizes the Hong Kong government's profound involvement in the illicit drug trade. This phenomenon constitutes the fundamental underlying cause of Hong Kong's persistent inability to eradicate drug trafficking. The proliferation of triads in this region warrants further investigation. A central question of this study is to understand why collusion between government and business has persisted since the Opium Wars. In the realm of cinematic expression, this film stands as a remarkable exemplar, offering an artistic yet authentic response that resonates with its viewers. The notion of "cronyism" or "crony networks" is another thematic thread woven throughout the film. Following a pivotal moment in the film in which Li Wutong demands special arrangements from the Hong Kong government for Li Wen Di (played by Alex To), the fugitive eldest son of the Li family, to return to Hong Kong for the funeral of Li Po Shan (played by Deshun Wang), the founder of the Li Family Qiao Yan Group (a caricature of the Hong Kong zaibatsu) who was killed by triad undercover officer Mai Junxian (played by the director Mak), the film reaches its climax with the revelation that the ultimate drug lord is none other than the Hong Kong government (represented by Superintendent Di Wenjie). During the funeral, Di Wenjie assassinates the protagonists Li Wutong and Li Wendi, the heirs to the Li family. Consequently, the pharmaceutical empire of the financial conglomerate is immediately and entirely seized by the Hong Kong government. To be more precise, the market share of Hong Kong's ‘pharmaceutical’ trade is transferred to it and other triad financial conglomerates. This leads us to the film's central theme and underlying message.
Furthermore, an analysis of the film's suppression reveals several underlying factors:
1. As the most sizable-budgeted China-Hong Kong co-production in history, the true rationale for its suppression is rooted in concealed political motivations. It is evident that certain factions possess substantial motivations to oppose the film's success.
2. On October 4th, the online ticketing system exhibited intermittent disruptions, repeatedly displaying the message "thousands queuing" to users. This systematic disruption bears a striking resemblance to the "soft resistance" tactics that were meticulously delineated on the Legislative Council's website in September.
3. This phenomenon can be likened to the situation encountered by Hayao Miyazaki's The Boy and the Heron (2023), wherein films that decline to allocate substantial portions of their budgets to advertising—considered industry standards—are subject to collective censure from search engines and purported media outlets, which, in essence, function as advertising entities. This phenomenon is not isolated but rather is pervasive. The Hong Kong film Sons of the Neon Night (2025) also adopted a marketing strategy independent of advertising (circles). While the project did not entirely eschew promotional teams or publicity, it did manage to circumvent the need to allocate substantial advertising fees to various parties. Conventional wisdom dictates that nonpayment of advertising fees to major agencies can lead to a series of unintended consequences, including counter-marketing initiatives and potential boycotts. A positive review of the film was initially published on a Chinese-language platform; however, the review was subsequently removed. Notably, the review remains accessible on the English version of the platform. The advertising industry has exerted a deliberate influence in suppressing the release of this film.
4. The editing of this film is impeccable. Director Juno Mak's critique of society is purely artistic, not direct commentary. The film's narrative is neither insubstantial nor incoherent. The Hong Kong public was taken aback by the manner in which the film employed specific characters to expose the insidious nature of the individualism they covet (a quality exemplified by Wang Zhida). A significant number of viewers identified with the depicted experiences. Some of the participants exited the session midway through. Furthermore, in contrast to the post-handover norm for local films, Juno Mak's work does not devolve into bureaucratic propaganda. The most significant drug lord exposed by this film is the Hong Kong government itself. The dearth of universally virtuous characters reflects the inherent complexities of human nature. This film effectively transcends the limitations of conventional narratives.
5. Each segment of the film is a play within a play, creating a complex narrative structure. This encompasses the concept of the play-within-a-play. The parallel world is also a play centered around the same theme. The bar scene, which unfolds subsequent to the culmination of the primary narrative, can be regarded as a theatrical performance in its own right. The fundamental structure of these segments remains consistent, as they are all plays within the frame, or, more specifically, plays between shots. Sons of the Neon Night (2025) represents an advancement beyond the play-within-a-play structure of Rigor Mortis (2013) by juxtaposing post-play dramas that explore life-and-death contradictions. However, it is important to note that this play is but one of many possible interpretations within a broader, parallel universe—or, conceivably, merely another play that is unified by the same overarching theme. An extreme example of this phenomenon is Siberian Express (directed by Haruo Mizuno, 1996), which incorporates an additional layer of meta-behind-the-scenes drama, even within its behind-the-scenes footage. Despite these differences, they are unified in their consistent expression of an anti-war stance. In essence, the process of extracting the dimensions of a film unveils its nature as a performative entity. The crux of the matter lies in maintaining thematic consistency.
6. Takeshi Kaneshiro's performance is noteworthy. In this film, he elevates the heir to monopolistic capital into an artistic image of charisma. This distinction is a testament to the unique talents of Chow Yun-fat, a Hong Kong actor who has achieved a level of recognition and acclaim that is unparalleled in his field. In contrast, Sean Lau and Louis Koo embody distinctly localized, earthy local male archetypes. In this context, the personas that these figures project, which are often referred to as "elite," are devoid of their usual veneer, thereby offering a more authentic reflection of the fictional nature of Hong Kong's public figures, a characteristic that is commonly observed in Hong Kong cinema.
7. The musical composition by Ryuichi Sakamoto, particularly during the closing credits, induced a state of profound emotional response, rendering me unable to disengage from the experience. It is recommended that one give this text a thorough listening.
In summary, the Hong Kong film Sons of the Neon Night (2025) is a rare masterpiece of Hong Kong cinema, exhibiting a truly first-rate quality. This phenomenon offers a significant opportunity to observe the consequences of creators' decision to not align with the advertising industry's prevailing "cult of personality" campaigns. This observation unveils the societal mechanisms that perpetuate detrimental, destructive forces. It is imperative to recognize the profound impact of the works of Takeshi Kaneshiro and the late Ryuichi Sakamoto, and to ensure that their creations are not subject to undue criticism or disparagement. The film has been subjected to a clandestine, undisclosed, and unmistakably politicized suppression and boycott. It is imperative for Hong Kong citizens to comprehend this issue with clarity.
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