Wire report
We’re Nothing at All review – bus explosion sets off Hong Kong drama of grief, prejudice and queer identity
A disaster on Valentine’s Day sets off a sprawling tale of hidden lives and social fault lines in director Herman Yau’s ambitious ensemble drama Prolific Hong Kong film-maker Herman Yau is back with an ambitious, sprawling drama that is, at best, an awkward composite of his past works. We’re Nothing at All kicks off with a moment of rupture: on a seemingly ordinary Valentine’s Day in Hong Kong, a double-decker bus suddenly bursts into flames. The deadly explosion triggers a police inquiry led by Lung (Patrick Tam), a skilled forensics specialist whose investigation reveals a maze of intersecting lives. Much like the volatile opening, the rest of the film luxuriates in paradoxes, where the facade of normalcy is peeled back to reveal poverty, prejudice and despair. From inspecting the charred bodies of the victims – rendered in lurid closeup – to retracing CCTV footage, Lung’s gathering of
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A disaster on Valentine’s Day sets off a sprawling tale of hidden lives and social fault lines in director Herman Yau’s ambitious ensemble drama Prolific Hong Kong film-maker Herman Yau is back with an ambitious, sprawling drama that is, at best, an awkward composite of his past works. We’re Nothing at All kicks off with a moment of rupture: on a seemingly ordinary Valentine’s Day in Hong Kong, a double-decker bus suddenly bursts into flames. The deadly explosion triggers a police inquiry led by Lung (Patrick Tam), a skilled forensics specialist whose investigation reveals a maze of intersecting lives. Much like the volatile opening, the rest of the film luxuriates in paradoxes, where the facade of normalcy is peeled back to reveal poverty, prejudice and despair. From inspecting the charred bodies of the victims – rendered in lurid closeup – to retracing CCTV footage, Lung’s gathering of
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According to The Guardian’s linked item, We’re Nothing at All review – bus explosion sets off Hong Kong drama of grief, prejudice and queer identity, A disaster on Valentine’s Day sets off a sprawling tale of hidden lives and social fault lines in director Herman Yau’s ambitious ensemble drama Prolific Hong Kong film-maker Herman Yau is back with an ambitious, sprawling drama that is, at best, an awkward composite of his past works. We’re Nothing at All kicks off with a moment of rupture: on a seemingly ordinary Valentine’s Day in Hong Kong, a double-decker bus suddenly bursts into flames. The deadly explosion triggers a police inquiry led by Lung (Patrick Tam), a skilled forensics specialist whose investigation reveals a maze of intersecting lives. Much like the volatile opening, the rest of the film luxuriates in paradoxes, where the facade of normalcy is peeled back to reveal poverty, prejudice and despair. From inspecting the charred bodies of the victims – rendered in lurid closeup – to retracing CCTV footage, Lung’s gathering of
Context
The development sits in VINI’s Culture coverage for readers following arts, entertainment, fashion, film, music, celebrity, and the business of culture. The original report is linked so readers can check the source account, follow later updates, and compare new coverage against the first published record. The linked item is dated 2026-05-25T08:00:20+00:00.
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Primary source: We’re Nothing at All review – bus explosion sets off Hong Kong drama of grief, prejudice and queer identity via The Guardian. VINI cites and links the source; it does not reproduce the publisher’s full article text without rights clearance.
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- We’re Nothing at All review – bus explosion sets off Hong Kong drama of grief, prejudice and queer identityThe Guardian - 2026-05-25T08:00:20+00:00
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