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If anything, this Hong Kong dystopian anthology film, "Ten Years," may've been overly optimistic. It only took four years from its release in 2015 and not ten to introduce an extradition bill as the opening salvo in the Chinese Communist Party's steamrolling of the rights of the citizenry of Hong Kong. Don't expect any more movies like "Ten Years" or many good movies for that matter coming out of the former-British-turned-Chinese colony from now on, either. Something about brutal and oppressive authoritarianism just isn't conductive to the freedom of expression required to make good art. When was the last time you saw a great movie to come out of Xinjiang, after all--"Mulan" (2020) included?

That said, I wish I could honestly say I found "Ten Years" a great film, what with its agreeable social commentary and that it reportedly won a Best Film award for which mainland China censored the awards show (and nobody even bothered to waste effort attempting to distribute the movie itself there). But, the anthology framework, filled as it is with some lackluster episodes, doesn't work very well. The second one, "Season of the End," is especially rather dull. Others, such as "Dialect," which follows a taxi driver forced to learn Mandarin in the once-Cantonese-dominant Hong Kong lest he lose his job, and "Self-Immolator," a mockumentary that seems especially prescient given protests and violence in Hong Kong in recent years, are better. I think the best is saved for last, "Local Egg," which ends with a bookstore's secret depository for contraband. It's the only kind of place where "Ten Years" itself could occupy in China now. An incredibly fitting end with one exception that I could spot: Captain America's shield. Once again, "Ten Years" may've been overly optimistic--in this case that Disney, or Hollywood and capitalism in general, wouldn't kowtow so shamefully to an authoritarian regime. Nope, that merchandise is more likely to be hanging in a politburo conference room than a hidden space for banned artifacts.

This collection of five short films is an amazing selection of dystopic visions that explore the worries of Hong Kong citizens. Driven by the growing intervention of China in the former British colony, many are worried about the destruction of their way of life. Each of the films uses this general theme differently from conspiracies to the Kafkaesque, the shorts tell the story of the less fortunate, the scientists, the food sellers, the taxi drivers, and the localists who are fighting for the autonomy or even independence of China's special administrative region. Each of the episodes move the audience deeply. As the movie paints an increasingly negative picture of Chinese rule over the city, it is not surprising that articles in official Chinese government mouthpieces have chastised the movie. Even in Hong Kong, many movie theaters did not show this film, which is a true shame, considering that the others were often sold out. I am truly hoping for a DVD soon! This is a movie I must own.

Made in 2015, 'Ten Years' is a collection of stand-alone stories from different directors that speculate what Hong Kong might be like one decade hence. As such it is surprising the self-imposed authorities in Beijing allowed the film to be made, let alone screened, as most of the stories take a dim view of the Chinese Communist Party's stewardship of the former British territory.

Four of the five stories are interesting and enjoyable, so let's get the dross out of the way first: 'Season of the End', in which a dreary young couple collect specimens of smashed pottery, ash and the like in order to preserve them. Whether this refers to a fad in current-day Hong Kong I do not know, but there seems little purpose to the film, which meanders all over the place, including some ramblings about a holiday the pair took in New Zealand. Perhaps that is the last time they were happy; after sitting through this story, I know how they feel! It is interesting that the least political of the stories is the dullest.

Okay, on to the good stuff: In 'Local Egg' a shopkeeper wonders from where he will source his eggs following the closure of Hong Kong's last poultry farm, and also has to contend with his son's membership of a young communist group that reports deviations from approved labelling in shops. The prospect of children being used to inform on their elders is chilling but all too believable, and the actor playing the everyman grocer gives a nice performance of a man frustrated by petty regulations.

Another nice everyman performance comes from the lead actor in 'Dialect', in which a taxi driver finds his business shrinking because he does not speak well enough the officially-sanctioned Mandarin (Hong Kong's traditional language being Cantonese). This is another example of the Beijing authorities seeking to stamp out local distinctiveness (for an extreme example today, see Tibet). It is enjoyable, but for the viewer who speaks neither Cantonese nor Mandarin and is relying instead on the English sub-titles the full impact was probably lost.

'Extras' follows a plot by members of the Hong Kong elite to pave the way for Beijing to introduce a (presumably restrictive) national security law. Their plan is to shoot one of two politicians appearing at a neighbourhood rally. While discussions continue as to which politician to attack, the ethnic-Indian gangster charged with carrying it out tries to convince himself it will be a success. Shot in black-and-white, this is a suspenseful work.

'Extras' is very enjoyable, but it is beaten by a whisker as the best contribution by 'Self-Immolator', which seeks to assign responsibility for its former territory to the United Kingdom. As the story begins, we see the smoking remains of someone who has set themselves alight outside the British Consulate-General as part of a campaign to force the UK to challenge the Chinese authorities' behaviour. Using a mixture of straight drama and mock interviews, the film then goes back in time a few days, following the lives of various characters (including another ethnic Indian, this time a female student) one of whom, we are led to believe, is the suicide. There's a heart-breaking twist to this tale.

Overall this collection is politically rather one-sided: the only real acknowledgement that some Hong Kongers support Chinese control of the territory is in 'Extras', and I assume a bunch of people plotting assassination are hardly representative of most citizens of HK! But as long as the viewer accepts that (completely understandable) bias, this is - 'Season of the End' aside - a terrific collection of stories.

Watched this film based on the discussion it stirred upon its release.

Ten Years is a collection of shorts that paint a bleak picture for the future of Hong Kong. One cannot feel but helpless while watching these shorts.

Yet, this movie is more for those living in Hong Kong than outside. People who have never been to Hong Kong will not be able to relate or understand without more context. Maybe that's why it didn't catch on for non-Hong Kong enthusiasts.

3.5/5. I enjoy the film. I understand the underlying stories. But the message could have been done in a better way.

This is a collection of five short films on what Hong Kong could be like in ten years.

The second short film tries to be stylish and unusual, but it just doesn't make sense. In addition, it deviates from the theme of the other four shorts. As a result, it is out of place and is not likely to be appreciated by the viewers.

The other four shorts are to the point, concise and explores the deep seated collective fear of Hong Kong people. The stories are believable, and are easily connectable with everyday life. They are unsettling to the core.