Ciao UFO opens with an urban legend, which is usually entangled with the horror genre. While not all of them are inherently frightening, most of us grew up daring friends to say Bloody Mary into a mirror, half‑expecting a ghost to appear or at least for our friends hiding behind the door to scream when we opened it. For Hong Kongers, one of the most famous tales is the UFO sighting over Wah Fu Estate. The film uses this legend as its inciting incident, but it never does anything interesting with it.
The 44th Hong Kong Film Awards Best Picture winner follows four childhood friends living in Wah Fu Estate during the 1980s. One night, while on the estate’s rooftop, they witness a UFO hovering in the clouds. Years pass, and although the friends drift apart, that sighting remains a pivotal moment in their lives. As the handover approaches and the landscape around them shifts, the four must confront their past and rebuild the bonds they’ve lost.
Ciao UFO, despite being two hours and two minutes long, rarely has anything interesting to say or offer over its run time. Thematically, I believe that the film is trying to say that we shouldn’t fear the future, as change is an inevitability, and despite what is ahead, life is worth living to the fullest, no matter the challenges. However, the film never really conveys why I should care about these ideas. The characters felt extremely one-dimensional, and given certain character traits, certain plot points need to be addressed.
For example, Heem has spent most of his life suffering from leukaemia and undergoing treatment. As he enters adulthood, he’s astonished that he’s still alive and begins to take that for granted. Without giving away specifics, you can probably predict the plot beats that follow. While predictability doesn’t automatically equal poor storytelling, this issue applies to most of the characters. Kin is saving money to emigrate, but becomes involved in the stock market, and when the inevitable plot turn arrives, I do appreciate that the film portrays the situation realistically. One moment is genuinely shocking, but the rest of the storyline feels generic.
The film truly shines when we see Kin, Heem, and Hoyi as children. Their youthful innocence is infectious, and all of the child performances are strong; given some of the heavier subject matter, they handle it remarkably well. Watching them record footage for the aliens on an 8mm camera is nostalgic and charming, and the scene where they release the balloon into space stands out as a genuine highlight. The colour grading in the 1980s sequences is also noticeably more vibrant, giving that era a visually distinctive look compared to the 1990s narrative arc.
I wish the whole film had focused on them as children, but it doesn’t. The film also teases an interesting visual motif: a yellowish glow around Hoyi’s future partner when they first meet, reminiscent of the UFO’s light, yet it’s never used again. Still, the final 20–30 minutes contain some genuinely strong moments, and Hoyi’s uncle ends up being the true MVP of the entire film. Also, he clearly has the best skincare routine because he hasn’t aged in over 15 years.
It does look great visually, especially the UFO effect, which is a striking, awe‑inspiring moment that feels very Spielbergian in its sense of wonder. Chui Tien‑you, Wong You‑nam, and Charlene Choi, as the adult versions of Kin, Heem, and Hoyi, respectively, do strong work with the material they’re given, creating believable characters despite their flaws. And the credit song is insanely catchy; it’ll have audiences bobbing their heads from side to side as the credits roll.
Still, a larger question lingers: do I even have the background and knowledge to appreciate the film to its fullest? As someone who isn’t from Hong Kong, is British through and through, and has never knowingly experienced true financial hardship or struggle, do I lack the understanding needed to fully grasp what the film is trying to explore? Art can reflect an artist’s life and experiences, whether intentionally or not, and those experiences inevitably shape the work. Because of that, I may not have the full nuance required to appreciate the film.
Despite that, Ciao UFO is, to me, a disappointment. While select scenes are effective and genuinely meaningful, the majority of the plot feels generic and has little of interest to say. I found myself bored at times, which is a shame, because I believe there’s a meaningful and potentially great film buried within this mediocre one. Still, for Hong Kongers, the journey may resonate more deeply, and the film’s themes could carry a profound emotional weight, so perhaps it’s worth checking out.
★★
In UK and Ireland cinemas from 15th May / Chui Tien‑you, Wong You‑nam, Charlene Choi / Dir: Patrick Leung Pak Kin / Central City Media / 12A
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