M+ Restored reaches major milestones in autumn 2026 with the first full presentation of all nine restored films at M+ Cinema and new international festival premieres

M+, Asia’s global museum of contemporary visual culture in the West Kowloon Cultural District (WestK) in Hong Kong, announces the seventh to ninth films under M+ Restored, an initiative supported by M+’s Major Partner, CHANEL. Newly restored in 4K in 2026, Ann Hui’s The Story of Woo Viet (1981), Yim Ho’s Homecoming (1984), and Fruit Chan’s Durian Durian (2000) showcase the creative ambition and lasting relevance of Hong Kong cinema across generations. Spanning two decades of profound social and cultural change, these important works reflect on Hong Kong’s shifting landscape and highlight the artistic innovation and distinctive cinematic voices that have defined its rich film legacy.

Launched in July 2023 as part of a three-year partnership between M+ and CHANEL, M+ Restored has increased the visibility of Hong Kong’s rich cinematic heritage by presenting and leading the restoration of nine feature-length films. M+ Restored celebrates the creative experimentation and technical innovation of Hong Kong New Wave cinema, reintroducing these landmark works in newly restored 4K versions. Since their international debuts from 2025 onwards, films from M+ Restored have reached audiences through more than 115 screenings at film festivals and cultural institutions worldwide.

Ann Hui’s poignant refugee drama The Story of Woo Viet (1981)

The Story of Woo Viet, the second instalment of Ann Hui’s Vietnam Trilogy, is a thematic bridge between Below the Lion Rock: The Boy from Vietnam (1978) and Boat People (1982). Depicting the plight of Vietnamese refugees through the lens of an action thriller, the film follows Woo Viet, a Vietnamese veteran, and fellow refugee Shum Ching from Hong Kong to Manila’s Chinatown. Departing from the female-centred suspense narratives of Hui’s earlier films, The Story of Woo Viet explores questions of identity, belonging, and displacement through characters caught between cultures and borders. Blending the assassin genre with social commentary, the film foreshadows themes that would recur throughout Hui’s later work, demonstrating her ability to balance commercial viability with artistic expression.

Yim Ho’s award-winning Hong Kong New Wave classic Homecoming (1984)

Produced by legendary actress Xia Meng’s Bluebird Movie Enterprises, Yim Ho’s Homecoming was the second Hong Kong New Wave arthouse film shot in the Chinese Mainland. Following professional and romantic setbacks in Hong Kong, the protagonist Shan Shan returns to her countryside hometown in Chaoshan, where her reunion with childhood friends Zhen and Xiaosong gradually disrupts the peaceful rhythm of their lives. With an understated, prose-like narrative style and intricate cinematography, the film explores nuanced relationships alongside the material and spiritual divide between urban and rural life. Released in 1984, the year Hong Kong’s return to China was officially declared, Homecoming carries a profound historical resonance. Widely acclaimed upon its release, the film won six Hong Kong Film Awards, including Best Film, and remains a landmark of Hong Kong New Wave cinema.

Fruit Chan’s incisive portrait of post-1997 Hong Kong Durian Durian (2000)

A spin-off of Little Cheung (1999), the final chapter of Fruit Chan’s 1997 Trilogy, Durian Durian marks a transition to the filmmaker’s subsequent Prostitute Trilogy. Set in post-handover Hong Kong, the film follows Fan, an overstaying illegal immigrant, and Xiao Yan, a migrant from the Chinese Mainland who later returns to her hometown in Northeast China. Breaking free from the melodrama and sensationalism often associated with its subject matter, Chan focuses on the realities of everyday life in his signature semi-documentary style. Contrasting the bustling streets of Yau Ma Tei with the expansive stillness of Northeast China, Durian Durian broadens Chan’s reflections on identity, migration, and the evolving relationship between Hong Kong and the Chinese Mainland.

M+ Restored titles selected for world premieres at Venice Film Festival and New York Film Festival

The newly restored 4K version of The Story of Woo Viet (1981) will have its world premiere in the Venice Classics section of the Venice Film Festival, while Allen Fong’s Just Like Weather (1986), restored earlier this year, will premiere at the New York Film Festival. These presentations mark the latest international milestones for M+ Restored, reflecting the growing recognition of the programme and bringing Hong Kong’s cinematic heritage to new audiences around the world.

All nine M+ Restored titles to return to M+ Cinema in autumn 2026

In autumn 2026, all nine restored titles will return to the big screen at M+ Cinema. Bringing together works by T’ang Shushuen, Peter Yung, Patrick Tam, Jacob Cheung, Allen Fong, Tsui Hark, Ann Hui, Yim Ho, and Fruit Chan, M+ Restored offers a rare opportunity to experience these classics in 4K. Following acclaimed presentations around the world, the screenings invite local audiences to rediscover the artistic merit and enduring significance of Hong Kong cinema. Further details about the programme will be announced at a later date.

Suhanya Raffel, Museum Director, M+, says, ‘We are proud to see that Hong Kong’s cinematic heritage continues to be recognised and celebrated around the world through M+ Restored. These three newly restored titles showcase the remarkable creativity and diversity of Hong Kong cinema while reaffirming M+’s commitment to sharing the city’s unique visual culture with global audiences. As we celebrate the completion of this important chapter of M+ Restored, we look forward to building on its success and exploring new opportunities to preserve, share, and deepen engagement with Hong Kong’s rich film heritage. We extend our sincere gratitude to our Major Partner CHANEL, as well as our film preservation and restoration partners, whose support has made these restorations possible.’

Silke Schmickl, CHANEL Senior Curator, Head of Moving Image, M+, says, ‘Made between 1981 and 2000, The Story of Woo Viet, Homecoming, and Durian Durian capture distinct moments in Hong Kong’s social, cultural, and cinematic development. Together, they reveal how filmmakers responded to questions of identity, migration, belonging, and change through remarkably different cinematic languages and storytelling approaches. While rooted in specific historical moments, these films continue to resonate today through their portrayal of human experience and social transformation. Bringing them back to the screen in newly restored 4K versions allows audiences to engage with these works anew and appreciate their lasting contribution to the Hong Kong film scene.’

About Ann Hui

Ann Hui (Liaoning, born 1947) started her film career as a key figure of the Hong Kong New Wave. Her debut feature, The Secret (1979), draws inspiration from a real-life murder case, while the award-winning Boat People (1982) brought the situation of Vietnamese refugees to international attention. She also demonstrates a deep interest in urban life and the social struggles of ordinary people in Hong Kong, as seen in The Way We Are (2008) and Night and Fog (2009). Her ability to direct actors and craft memorable female characters has garnered many Best Actress accolades for major stars, including Josephine Siao in A Summer Snow (1995) and Deanie Ip in A Simple Life (2011). Her recent works include The Golden Era (2014), Our Time Will Come (2017), Love After Love (2021), and Elegies (2023), a documentary about Hong Kong poets.

About Yim Ho

Yim Ho (Hong Kong, born 1952) grew up in Hong Kong and graduated from the London Film School. He worked as a screenwriter and director at TVB. In 1978, he moved into the film industry, directing works such as The Extras (1978) and The Happening (1980). In 1984, he directed Homecoming, which refreshed Hong Kong cinema with its deep sense of countryside nostalgia and swept six awards at the 4th Hong Kong Film Awards, including Best Film and Best Director. His subsequent titles include Red Dust (1990), The Day the Sun Turned Cold (1994), The Sun Has Ears (1996), and Kitchen (1997), all of which received accolades at international film festivals.

About Fruit Chan

Fruit Chan (Hainan, born 1959) is an independent director, screenwriter, and producer. Depicting the everyday lives of the working class, his films are known to have low production budgets and feature non-professional casts. Chan began working in film in the 1980s. His claim to fame, Made in Hong Kong (1997), is part of his 1997 Trilogy, which also includes The Longest Summer (1998) and Little Cheung (1999). He later made another trilogy spotlighting Hong Kong’s sex workers with Durian Durian (2000), Hollywood Hong Kong (2001), and Three Husbands (2018). Genre filmmaking is also part of his practice, as seen in the horror title Dumplings (2004) and the post-apocalyptic black comedy The Midnight After (2014).

About M+

M+ is Asia’s global museum of contemporary visual culture. Located in Hong Kong’s West Kowloon Cultural District (WestK), it is dedicated to collecting, exhibiting, and interpreting visual art, design and architecture, moving image, and Hong Kong visual culture of the twentieth and twenty-first centuries. The landmark M+ building on Hong Kong’s Victoria Harbourfront was designed by the world-renowned architectural firm Herzog & de Meuron in partnership with TFP Farrells and Arup. It spans a total floor area of 65,000 square metres, featuring thirty-three galleries alongside a Learning Hub, Moving Image Centre, Research Centre, and Roof Garden, among other event and programming spaces. The M+ Facade is one of the largest LED screens in the world, showcasing commissioned artworks on the Hong Kong skyline every evening. The museum stewards a multidisciplinary permanent collection that includes objects from regions across Asia and beyond. A highlight is the M+ Sigg Collection, one of the world’s most comprehensive collections of Chinese contemporary art. Today, M+ is a nexus for researching and presenting contemporary visual culture, inspiring thought and curiosity.

About the West Kowloon Cultural District (WestK)

WestK is one of the largest and most ambitious cultural hubs in the world and Hong Kong’s new cultural tourism landmark, spanning forty hectares alongside Victoria Harbour. WestK comprises a mix of landmark arts and cultural facilities, including world-class museums M+ and the Hong Kong Palace Museum, intricately designed performing arts venues the Xiqu Centre and Freespace, the eleven-hectare Art Park with a waterfront promenade, and the upcoming WestK Performing Arts Centre.

Hosting over 1,000 exhibitions, performances, programmes, and events each year, WestK provides a vital platform for both emerging and established artists. WestK welcomes more than ten million visitors each year, evolving as the international cultural brand of Hong Kong and strengthening the city’s strategic role as an East-meets-West centre for international cultural exchange.