The decline of Hong Kong cinema is the symptom of a larger malaise with economic and political dimensions, which befell Hong Kong in the final decade of the last century. Wong is the child of the depression, not its father, and if his films are carefully designed manifestations of the depression, or of millennial disillusionment, they are nevertheless transcending works whose objective is not to alienate the audience with inertia; rather, they are a therapeutic course of treatment, making a point to entertain the audience with sensations of colour, design, movement, action and drama.