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我們不是什麼 | We're Nothing At All (2026)

“當雪崩的時候，沒有一片雪花是無辜的。”

"In an avalanche, no snowflake is innocent."

We're Nothing At All is the latest film from director Herman Yau, a self-funded crime thriller starring Patrick Tam, Anson Kong, and Ansonbean. Loosely inspired by real historical events, the film kicks off when retired forensic investigator Lung-sir (Patrick Tam) is called back into the field to solve the mystery of a double decker bus explosion, which took place on the morning of Valentine's Day and killed everyone on board. As the investigation and plot unfolds, it is eventually revealed that the explosion was a murder-suicide, carried out by a young gay couple named Faizai (Anson Kong) and Ike (Ansonbean) who could see no other end to the ostracization they faced in society. We, the audience, know how this story will end from the beginning. It is important that this story is witnessed anyways.

We're Nothing At All is a sharp, focused snapshot on the widespread homophobia that still remains normalized in Hong Kong, as well as its intersections with class background, cultural gender norms, and sex work, which all affect how different individuals experience queerness. There were a couple narrative twists in directions I didn't expect this film to go, and despite the heavy, suffocating feeling it leaves you with, I found it refreshing that a director and creative team were willing to explore these themes so clearly in 2026. Some reviews call this movie too heavy-handed. In my opinion, given the discussions I saw in Hong Kong surrounding this movie, the thematic bluntness is necessary.

dude.

我們不是什麼 | We're Nothing At All (2026)

“當雪崩的時候，沒有一片雪花是無辜的。”

"In an avalanche, no snowflake is innocent."

We're Nothing At All is the latest film from director Herman Yau, a self-funded crime thriller starring Patrick Tam, Anson Kong, and Ansonbean. Loosely inspired by real historical events, the film kicks off when retired forensic investigator Lung-sir (Patrick Tam) is called back into the field to solve the mystery of a double decker bus explosion, which took place on the morning of Valentine's Day and killed everyone on board. As the investigation and plot unfolds, it is eventually revealed that the explosion was a murder-suicide, carried out by a young gay couple named Faizai (Anson Kong) and Ike (Ansonbean) who could see no other end to the ostracization they faced in society. We, the audience, know how this story will end from the beginning. It is important that this story is witnessed anyways.

We're Nothing At All is a sharp, focused snapshot on the widespread homophobia that still remains normalized in Hong Kong, as well as its intersections with class background, cultural gender norms, and sex work, which all affect how different individuals experience queerness. There were a couple narrative twists in directions I didn't expect this film to go, and despite the heavy, suffocating feeling it leaves you with, I found it refreshing that a director and creative team were willing to explore these themes so clearly in 2026. Some reviews call this movie too heavy-handed. In my opinion, given the discussions I saw in Hong Kong surrounding this movie, the thematic bluntness is necessary.

我們不是什麼 | We're Nothing At All (2026)

“當雪崩的時候，沒有一片雪花是無辜的。”

"In an avalanche, no snowflake is innocent."

We're Nothing At All is the latest film from director Herman Yau, a self-funded crime thriller starring Patrick Tam, Anson Kong, and Ansonbean. Loosely inspired by real historical events, the film kicks off when retired forensic investigator Lung-sir (Patrick Tam) is called back into the field to solve the mystery of a double decker bus explosion, which took place on the morning of Valentine's Day and killed everyone on board. As the investigation and plot unfolds, it is eventually revealed that the explosion was a murder-suicide, carried out by a young gay couple named Faizai (Anson Kong) and Ike (Ansonbean) who could see no other end to the ostracization they faced in society. We, the audience, know how this story will end from the beginning. It is important that this story is witnessed anyways.

We're Nothing At All is a sharp, focused snapshot on the widespread homophobia that still remains normalized in Hong Kong, as well as its intersections with class background, cultural gender norms, and sex work, which all affect how different individuals experience queerness. There were a couple narrative twists in directions I didn't expect this film to go, and despite the heavy, suffocating feeling it leaves you with, I found it refreshing that a director and creative team were willing to explore these themes so clearly in 2026. Some reviews call this movie too heavy-handed. In my opinion, given the discussions I saw in Hong Kong surrounding this movie, the thematic bluntness is necessary.

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Hailou: we are part of Shifu's dowry, obviously.