For Chinese moviegoers, “Hong Kong films” means more than just films produced in the region. Rather, it represents a certain style, or even a complex that impressed the Chinese-speaking audiences during the 1980s and 1990s, usually dubbed as the “golden era” for Hong Kong films.

Among all genres, Hong Kong's crime films are the most loved ones. Later, with China's mainland's film market booming, the so-called “golden era” has been left in the past, even with the good old memories lingering.

Therefore when “P Storm” made to the top of the box office ranking for last week and the Qingming Festival holiday, many say it savors like the Hong Kong films of the golden era has finally found their way back.

“P Storm” is fourth of a crime thriller film franchise about Hong Kong's Independent Commission Against Corruption (ICAC) and its investigation into and fight against corruption and bribery. The film has grabbed 352 million yuan (52.39 million U.S. dollars) last week, four days after its release.

Film viewers, especially Hong Kong film enthusiasts, considered “P Storm” the best of the franchise. It earned 6.3 out of 10 points on reviewing website Douban.com, higher than the previous films.

“The rhythm is compact, which means the script and editing are both good,” a film viewer wrote in his comment. “Though there are so many familiar scenarios that often appear in Hong Kong films, what's the matter with it as long as it works. Many have ignored that is what makes the so-called Hong Kong films in the first place.”

Koo Tin-lok, playing leading role William Luk, is no doubt one of the reasons for people to walk into the cinema. A veteran Hong Kong actor and a frequent awards winner, Koo is known for his depiction of characters.

But what's more surprising for the audience is Lam Fung, starring big villain Cao Yuen Yuen in the film, has completely overthrown his usually image.

DC Comics superhero “Shazam!” despite being released simultaneously in the U.S. and China on Friday, does not work as well as expected, only landing at the second place with 205 million yuan (30.51 million U.S. dollars). The film grabbed 56.8 million U.S. dollars (382 million yuan) in North America, far more than its Chinese earnings.

Indian film “Andhadhun” or “The Blind Melody” is on the third spot with 92.4 million yuan (13.75 million U.S. dollars) during the first weekend. The film is an adaption of a 2010 French short film, and both were well known for the delicate designs of suspense. Many Chinese viewers say that the Indian adaption reflected an epitome of the society and humanity in the plots.

Before “Andhadhun,” there were already six Indian films the box office of which has exceeded 100 million yuan (14.9 million U.S. dollars), and the first Indian film to be introduced here in China is expected to become the seventh.

Chinese small-budget “Song of Youth” and “Dumbo” debuted at the end of March, and are in the fourth and fifth place.

“The Shadow Play” directed by Lou Ye has received more than 51 million yuan after being released at the beginning of the Qingming Festival holiday. It has already more than tripled Lou's last film “Blind Massage.”

About 11 new films are expected to hit screens this week. But it is expected that the next blockbuster could need to wait until April 24, when “Avengers: Endgame” will finally land here in China. 

(Cover image designed by Liu Shaozhen)