Love it or hate it, Ten Years points to the common enemy in Hong Kong politics – fear

The creators of Ten Years have said their movie was “not intended to be a political film”. But despite that, the film has definitely achieved great political impact. Whatever their intentions, the political consequences of the Best Film winner at the Hong Kong Film Awards – from the emotionally charged responses and politically charged interpretations it elicited, to the exposure of the cultural politics within the film industry – have perhaps been more than enough to justify its controversial win.

As a portrayal of our worst fears, it is arguably the quintessential political horror film of our time. It perfectly plays (or should it be “preys”?) on many Hongkongers’ primal fears that have been present since the mass migration waves of generations past began from across the border.

Is Ten Years the Occupy Central movement of Hong Kong cinema?

Is Ten Years more thought-provoking than fear-mongering? The answer to that may not be as important as how “uncomfortable” the film has turned out to be for apparently everyone. Provocation is an art form. Perhaps the true value of Ten Years lies in how uncomfortable it is to us all.

Fan or critic, Ten Years is all about discomfort. Its dystopian vision – or nightmare – of Hong Kong in 2025 is undeniably uncomfortable.

More Ten Years fallout: Hong Kong movie producer threatens awards boycott unless voting is changed

Whether one sees the film as echoing or fanning a sense of dread for the city’s future doesn’t change the fact that nightmares – whether they’re yours or someone else’s – are simply not pleasant. It’s Hong Kong’s modern-day version of A Nightmare on Elm Street. Even if one doesn’t dream of Freddy Krueger, the fact that someone else does is important enough.