HONG KONG.- M+ presents three newly restored films in 4K from the M+ Restored initiative: Cageman (1992) by Jacob Cheung, Just Like Weather (1986) by Allen Fong, and The Butterfly Murders (1979) by Tsui Hark. Together, these titles reflect the creative experimentation and technical innovation of the Hong Kong New Wave, a globally influential movement that encompasses diverse approaches to filmmaking, from social realism and hybrid forms to breakthroughs in genre cinema. Following an international film festival tour, the titles will be presented at the M+ Cinema in Autumn 2026, marking the initiative’s next phase.

Since its debut in 2025, M+ Restored has expanded the global recognition of Hong Kong’s cinematic heritage. As of June 2026, close to one hundred screenings have taken place across thirty-six cities worldwide, including major film festivals such as Cannes Film Festival, New York Film Festival, Tokyo International Film Festival, and San Francisco International Film Festival, as well as cultural institutions such as The Museum of Modern Art, New York; British Film Institute; Eye Film museum, and Thai Film Archive. These presentations enable audiences to encounter the titles in newly restored formats, reinforcing their relevance and accessibility.

Jacob Cheung’s landmark film Cageman (1992)

Cageman depicts the lives of a group of middle-aged men sharing a cage home in Hong Kong. Steering clear of sentimental melodrama, vulgar comedy, and radical denunciation, the film presents a blend of absurd realism, rich emotion, and relentless street humour, capturing the precarity of life in pre-1997 Hong Kong. Jacob Cheung’s defining work, Cageman garnered wide critical acclaim upon its premiere at the Hong Kong International Film Festival in 1992. The 4K restored version debuted at the same festival in 2026, underscoring its continuing resonance thirty-four years later.

Allen Fong’s experimental docudrama Just Like Weather (1986)

Just Like Weather builds on Allen Fong’s exploration of social realism through a bold fusion of drama and documentary. The film follows its lead couple as they re-enact their real-life experiences alongside scripted scenes, blurring the boundaries between performance and reality. Through jump-cut editing and a non-linear narrative structure, the film develops an ambiguous and hazy allure, using the instability of the couple’s relationship to reflect Hong Kong’s uncertain future as 1997 approached. This inventive combination of filmmaking and lived experience marks a pinnacle in Fong’s career, solidifying the film’s status as a key work of Hong Kong New Wave cinema.





Tsui Hark’s debut feature film The Butterfly Murders (1979)

The premiere of The Butterfly Murders in 1979 is widely regarded as the emergence of the Hong Kong New Wave movement. Blending suspense, mystery, and martial arts, the film opens what its protagonist describes as a ‘new era of the wuxia world’, with an unconventional portrayal of martial arts through mechanical props, dynamic visuals, unique camera angles, and bold editing. From its enigmatic opening atmosphere to its intense battle sequences, The Butterfly Murders remains a landmark piece in the city’s cinematic history.

Suhanya Raffel, Museum Director, M+, says, ‘With the second phase of M+ Restored, we continue our commitment to preserving and sharing Hong Kong New Wave films with audiences in the city and beyond. We are thrilled to see these titles being featured at major international film festivals, which affirms our ongoing efforts in championing Hong Kong’s distinctive moving image culture on the global stage. M+ Restored has been made possible with the invaluable support of our Major Partner, CHANEL. We look forward to bringing this cinematic heritage to audiences through international distribution, in-house screenings, public programmes, and Cathay’s global network.’

Silke Schmickl, CHANEL Senior Curator, Head of Moving Image, M+, says, ‘Taken together, Cageman, Just Like Weather, and The Butterfly Murders reveal the remarkable breadth of Hong Kong New Wave and the distinctive cinematic languages that emerged during this period. Each film represents a different approach to form and technique. Revisiting them today deepens our understanding of their formal daring, historical significance, and enduring relevance.’