The veteran filmmaker Herman Yau is returning to the cinema of social conscience with his latest feature, We’re Nothing at All. Following a successful run in Hong Kong, the film has now found a home for audiences in the United Kingdom and Ireland. Trinity CineAsia secured the rights from Golden Scene, with plans to bring the title to the big screen on 29th May 2026.
This project marks a significant shift for Yau. While he is often associated with high-budget spectacles like the Shock Wave franchise, this film was entirely self-financed through his own banner, The Plan Company. It appears to be a deeply personal endeavor, moving away from commercial tropes to focus on the fringes of society.
A Tragedy on the Margins
The plot takes its cue from a dark chapter of history—a 1998 incident in Wuhan. In Yau’s version, the setting is contemporary Hong Kong. The story begins on Valentine’s Day with the devastating explosion of a double-decker bus. The investigation, led by a retired forensic expert, eventually leads to Fai and Ike, a gay couple struggling with the weight of poverty and systemic homophobia.
Rather than a standard crime procedural, the film functions as an inquiry into collective apathy. It examines how a community’s indifference can push individuals toward a final, desperate act of protest. The haunting farewell left by the couple—”On a beautiful day, we end our unbeautiful lives”—serves as the emotional core of the film.
Prolific Roots and New Talent
Herman Yau has directed more than eighty films, making him one of the most productive figures in the Hong Kong industry. Fans of his earlier, grittier works like Taxi Hunter will likely find this new release a familiar return to form. It lacks the gloss of his recent blockbusters, opting instead for a raw, uncompromising look at human suffering.
The cast reflects a similar blend of experience and modern appeal. Patrick Tam leads the ensemble alongside Anson Kong, a member of the popular boy band Mirror, and the rising actor Ansonbean. The film has already found favor with critics and viewers alike, winning the Audience Choice Award at the Hong Kong International Film Festival earlier this spring.
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In a statement regarding the upcoming release, Yau expressed hope that the film would serve as a bridge between different experiences. He noted that for those living happily, the film is a reminder of the hardships others face, while for those in pain, it is a sign that they are not alone.
Cedric Behrel, the managing director of Trinity CineAsia, praised the film’s “social realist” punch. He noted that the themes of marginalisation have already sparked significant conversation in Hong Kong. By bringing the film to the UK and Ireland, the distributors aim to amplify a story that questions our shared responsibility for one another, regardless of geography.
