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Everyone needs to break out of jail

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Not long ago, Hong Kong’s renowned director Johnnie To’s interview with the foreign media about the death of Hong Kong cinema due to the restriction of creative freedom under China’s political tightening has aroused a great deal of concern and rebuttal from pro-government people. However, two weeks ago, the Hong Kong movie “Breaking Hell”, starring Wong Tze Wah and Hui Koon-man, was released in Hong Kong. Inferno, which broke the box office on its first day of release with 1,000 screenings and grossed over HK$60 million in 11 days, has been the talk of the town every day, and has been used by the official Chinese media as a reason for questioning director Johnnie To’s claims.

However, anyone who knows how to think can tell that the popularity of a movie is not directly related to the freedom of movie making. However, Breaking Hell has indeed become a phenomenon worth discussing in Hong Kong.

The film is the first of its kind in Hong Kong to focus entirely on the funeral industry. The story is set in Hong Kong in the midst of the new Crown Pneumonia epidemic, and tells the story of “Wei Dao Sheng” (Wong Tze Wah), a former wedding planner who has no choice but to join the booming funeral industry in the midst of the recession and become a funeral broker. “As he tries to apply his business acumen to his work, he clashes with his mentor, Man (Hui Koon Man), over the contradiction between tradition and innovation. In the course of their relationship and cooperation, the two explore the complex meaning of life and death together. As of Tuesday, the box office has already exceeded $60 million, and on the 16th of last week, the box office reached $9.05 million, with more than 120,000 people attending the movie, making it the highest one-day box office record for a Hong Kong movie.

A Different Story
The movie “Hell” is set in Hong Kong’s funeral industry. To put it bluntly, it takes an outsider’s point of view to lead the audience into the mysterious and traditional field, reflecting the changes in Hong Kong’s society in the aftermath of the epidemic. Originally a middle-class wedding planner, Mr. Wei Dao Sheng lost his job during the epidemic and became heavily indebted. In order to make a living, he changed his profession to become a funeral service salesman, commonly known as a “funeral parlor”. Being an “outsider”, Dawson did not understand the traditions of the local funeral industry, let alone the mentality of the customers, i.e. the bereaved families. At the beginning of his career, Daw Sang encountered many obstacles, until he befriended Man, a former master of the funeral trade, who taught him how to “put the living first”.

The movie is also a clichéd story of family reconciliation. The traditional hell-breaking ceremony is passed on to men but not to women, thus creating a rift between Man and his son, Chi-Bin, and daughter, Wen Yueh. In the end, a death ritual is performed to reconcile the deceased with the living, and the audience is able to feel relieved. The script of Breaking Hell is simple and delicate, with individual vignettes explaining how Dawson learns how to care for the living from the cases of different victims, so that the audience can understand the meaning of living together. The movie is originally of a heavy and depressing style, but the roles of Wong Tze Wah and Hui Koon-man, two actors who are generally regarded as comedians by the audience in the past, make the movie a wonderful chemical effect.

The English title of the movie is also very special – “The Last Dance”, which symbolizes the last dance for the deceased, and also provides an opportunity for the living to say goodbye officially. In the film, a freshman humanist in the funeral industry recognizes that the ceremony is sometimes for the living. At a funeral, the living are given the opportunity to say a formal goodbye. Whether it is a chance to cry or to organize and express their thoughts, emotions are taken care of, and this is an important process to help the living gradually face death and accept their loss. No matter how many grudges we had with the deceased, everything should be put aside the moment the body turns into white smoke. In the face of death, everyone can feel the pain of the heart, and it is because of this that it is especially important to say goodbye to the other person seriously.

Beyond Rituals: Breaking through the Dilemma
As an ancient civilization with a long history, China’s funeral rituals are not the same in each different historical period, after thousands of years of long sedimentation and development, formed a set of complex funeral rituals, the content of which is mainly manifested in the form of funeral and burial, such as wearing mourning, streamers to attract souls, reciting the scriptures and other forms of rituals with a strong color of feudal superstition. In the disposal of the body, the main coffin burial, earth burial is the main form of funeral in old China. After the founding of the People’s Republic of China, funeral reforms were initiated, and in February 1985, the Chinese government issued the Provisional Provisions on Funeral Management, which determined that cremation should be actively and step-by-step implemented, while traditional forms of cremation, earth burial, sky burial, and water burial have been preserved in ethnic minority areas. The “breaking of hell” in the movie is an important funeral ritual in the Taoist faith, aiming to perform the “breaking of hell” for the deceased, so that they can be released from hell and rest in peace.

The Taoist community has different views on who should perform the “Hell Breaking” ritual. Generally speaking, only those who died at a young age, died in an accident or committed suicide need to perform the “hell-breaking” rituals, but some say that people always make mistakes in their lives, so everyone needs to perform the hell-breaking rituals after their deaths in order to be freed from hell. After the director, Mr. Chan Mau-yin, had the initial concept of the script, he contacted a funeral consultant and, with the consent of the family members of the deceased, he observed the process from the mortuary to the funeral parlour and the whole ceremony for many times, which allowed him to observe various kinds of deceased in good or bad health conditions, and to understand this unfamiliar industry from the mouths of the real practitioners, which allowed him to restore the most complete scene of the funeral service in front of the audience.

The “hell-breaking” shown in the movie goes far beyond the ceremony itself, it is not a quick fix, but a continuous process. It requires courage to face the past, to talk to oneself honestly, and to look at all experiences through the lens of love. The movie shows viewers the multiple facets of life – birth and death, love and separation, pain and redemption. Behind every hell lies a path to light. As long as people are willing to face these hells, the ultimate exit will be inner peace and fulfillment. The true meaning of “Breaking Hell” is to awaken people from the predicament of life, to learn to embrace the coexistence of shadow and light, and to meet the challenges of each day with a calmer mind. When people break the hell in their hearts, spiritual redemption will follow, and life will truly be transformed.

The Renaissance of Hong Kong Cinema
The success of Breaking Hell has also injected a shot in the arm for Hong Kong’s movie industry, which has been under much skepticism in recent years. Since the 1980s, with the change of time and the influence of the external environment, Hong Kong movies, which used to be known as the “Hollywood of the Orient”, seem to have gradually lost their former glory. However, Breaking Hell proves that as long as we maintain our creative edge, write good stories, and rely on excellent local talents, Hong Kong movies can still be vibrant in the new era. The movie has not only become the opening champion of Hong Kong movies in 2024 at the box office, but more importantly, it has injected new vitality into the revival of Hong Kong movies. The reason for the movie’s success lies not only in its strong cast, but also in its profound cultural connotation and social significance.

The most profound part of the movie is that it points out that the rituals not only overcame the dead, but also overcame the living. The living are in a lot of trouble, so it is necessary to perform the rituals. This sense of ritual in traditional culture is not only a visual impact on the big screen, but also a deep reflection on the beauty of culture and the meaning of life. Through the delicate expression of these traditional rituals, the film explores the dialectical relationship between death and life, and triggers the audience to rethink their own time and culture. Director Chan Mau-yin skillfully utilizes “hell-breaking”, an intangible cultural heritage of Hong Kong, as an entry point, which not only allows the audience to feel the emotional value behind the traditional customs, but also arouses people’s concern and thinking about the funeral industry and its related culture.

“Breaking the Hell” is not only a funeral ritual in Taoism, but also an important part of the emotional bond between the living and the dead. By watching this movie, people may have a deeper understanding of life, learn to cherish the present moment and be grateful for what they have. Professor Murray, the protagonist of the popular Western novel The Last Fourteen Lessons of Tuesday, says, “Everyone knows they’re going to die, but no one wants to talk about it. The fear of death seems to be a human condition. Perhaps it is only when we let go of our obsession with life and death, our grudges against others, and our harshness towards ourselves that we truly begin the first step towards hell-breaking.

The movie is not only a spectacular cast, but also brings unprecedented visual and spiritual impact to the audience through the combination of real-life scenes and traditional culture. The brilliant performances of Wong Tze Wah and Hui Koon-man bring the movie to an emotional and philosophical level. Their different attitudes and understanding of death in the movie give the movie a strong depth of thought, making the audience think about their own attitudes towards life while enjoying the movie. Although the movie focuses on the funeral industry in Hong Kong – a work with strong regional cultural characteristics – it puts the eternal theme of life and death in the spotlight, which is common to all human beings and thus has a strong international resonance. This movie is much more than a shock to the senses, it is more of a baptism of the heart and mind.

Movies have influenced the world
Since the invention of the movie, the world’s largest film industry has been in Hollywood, followed by India with its large population. Movies were first made in Bombay, India, 130 years ago, and in China, which has a similarly large population, movies began to be made in Shanghai in 1905, with only a few Cantonese movies being made in Hong Kong at the time. However, due to China’s long history of civil wars and wars against Japan, many films were shot in Hong Kong in the 1930s, when the Shaw Brothers founded Shaw Brothers, which was the world’s largest film studio, and films were distributed to the Chinese communities in Southeast Asia. With the founding of Communist China, a large number of Chinese filmmakers came to Hong Kong, making Hong Kong the third largest film production center in the world. It is only since 30 years ago that the huge Chinese market has dominated the production of Chinese-language movies. Because of this, Cantonese movies, such as Kung Fu, Triad and Funny movies, have been influencing the development of world cinema for a long time in such a small population as Hong Kong.

However, China’s movie production has been subjected to various governmental regulations, and its themes and contents are limited, so it does not have a great influence on the world’s movie industry. As Hong Kong film productions have to develop the Chinese market, the number of films targeting the local community has decreased significantly. However, with the drastic changes in Hong Kong society in 2019, more and more local filmmakers are choosing to make films on Hong Kong society, and many of them have gained international recognition.

It remains to be seen how Hong Kong cinema will continue to develop, whether it will have the possibility of redevelopment, or whether it will gradually become a part of Chinese cinema. However, films like “Breaking Hell”, which can resonate with the majority of people in their daily lives, will probably stimulate the creation of Hong Kong films and open up new horizons, which is something that is yet to be seen.

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A Short Break Before Continuing the Journey

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This year, the world has continued to pass through turmoil.
Israel has temporarily stopped its attacks on Gaza. I hope that this region, after nearly 80 years of conflict, can finally move toward peace. I remember when I was young, I believed that this land was given by God to the Israelites, and therefore they had the right to kill all others in order to protect the land that belonged to them. I can only admit my ignorance. Yet this did not cause me to lose my faith; rather, it taught me to seek and understand the One I believe in amid questioning and doubt.

December is the time when we remember the birth of Jesus Christ—a season when people would bless one another. Sameway sends blessings to every reader, whether you are in Australia or gone overseas. May you experience peace that comes from God, and not only enjoy a relaxing holiday with your family, but also share quality time together. Our colleagues will also take a short break, and we will resume publication in early January next year, journeying with our readers once again.

While our office will be relocating, the daily news commentary we launched on our website this year will continue throughout this period though. Our transformation of Sameway into a multi-platform Chinese media outlet will also continue next year. It is your support that convinces us that Sameway is not just a publication—it is a calling for a group of Christians to walk with the Chinese community. It is also the blessing God wants to bring to the community through us. We hope that in the coming year, Sameway will continue to stand firm as a Chinese publication committed to speaking truth.

Today, anyone making a request to U.S. President Trump must first praise his greatness and contributions—no different from the Cultural Revolution-style rhetoric we despise. Western politicians call this “political reality.” Russia, as an aggressor, shamelessly claims to “grant” conditions for peace to Ukraine, and other Western leaders must endure and compromise. Australians continue to face economic and living pressures, and immigrants are still scapegoated as the root of these problems, leaving people anxious. Sadly, last week Hong Kong suffered a once-in-a-century fire disaster, causing 151 deaths and the destruction of countless properties—a heartbreaking tragedy. Even more tragic is witnessing the indifference of Hong Kong officials responsible for the incident, and the fact that Hong Kong has now been fully absorbed into the Chinese model of governance—an authoritarian system dominated entirely by “national security” or the will of its leaders, where no one may question the truth of events or demand government accountability.

Yet, in the midst of such helplessness, I still believe that the God who rules over history is the same God who loves humanity—who gave His only Son Jesus to the world to redeem humankind.

Wishing all our readers a Merry Christmas and a Happy New Year! See you next year.

Mr. Raymond Chow, Publisher

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A Glimmer of Hope Amid Disaster

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A massive fire has revealed to the world the hardships Hong Kong society is currently facing. Seven 31-storey buildings—with roughly 1,700 units—were destroyed in a 43-hour blaze, leaving nearly two thousand families homeless. The 156 people who died, including many elderly residents and the domestic workers who cared for them, left their families devastated: most victims simply had no chance to escape because the flames spread rapidly and the fire alarm never sounded. The shocking footage—resembling iconic scenes from a disaster film—circulated online within a single day, prompting many to ask: Is this the suffering now endured by the place once known as the “Pearl of the Orient”?

World leaders offered their condolences to Hongkongers. Chinese President Xi Jinping expressed sorrow for the victims and extended sympathy to their families and survivors. Pope Leo XIV and King Charles III conveyed their condolences; Australian Prime Minister Anthony Albanese expressed care and support for Hong Kong people. Hong Kong tycoon Li Ka-shing immediately donated HKD $80 million for disaster relief and distributed emergency aid, earning widespread approval. Citizens brought clothes, food, and supplies to the disaster site to help affected residents, showing a spirit of mutual aid in times of hardship.

During the fire, many waited anxiously near the site, hoping their loved ones would emerge safely. For those who reunited with family, there was relief—an ember of hope amid catastrophe. But others were forced to accept, in an instant, that their loved ones had been burned to death, reduced to ashes, having suffered unbearable agony in their final moments. Their grief, anger, and pain naturally lead to a single question: Who will be held accountable for this?

Yet the response from senior Hong Kong officials has been deeply disappointing.

A Government That “Cannot Be Wrong”

The Hong Kong government’s first reaction was astonishing: it blamed the fire on the use of bamboo scaffolding and immediately pushed for legislation to ban bamboo scaffolds. Without proper investigation, the government casually pinned the problem on bamboo, leaving the public with the impression that officials were merely searching for a “not us” excuse—an attitude cold and indifferent to human life.

Yet the footage showed the opposite. The falling bamboo poles were not on fire; instead, flames raced along the sheets of netting wrapped around the buildings. The blame placed on bamboo looked like a crude attempt to deflect responsibility.

When it was later suggested that non-compliant, flammable netting was the real reason the fire spread so quickly, the relevant bureau chief hastily declared that the materials had “been verified as compliant,” prompting widespread disbelief. Those who questioned the government were then accused of “inciting hatred” or being “troublemakers”—a clear reflection of the post-2019 logic in Hong Kong: the government is always right, and anyone who questions it is subversive.

While the entire city was gripped by shock and grief, authorities chose repression over empathy, acting as if heavy-handed tactics could simply bury public anger. This showed a profound misunderstanding of Hong Kong’s unique social fabric and international context. With the world watching, expecting Hongkongers to react like citizens long conditioned under an authoritarian regime in the mainland revealed a startling lack of political awareness.

As a result, Hongkongers across the globe—supported by international media—laid bare the deeper societal, structural, and governance failures behind the fire.

A Government Accountable to the People

Democratic governments may be inefficient or inconsistent, but those that ignore their people for too long ultimately get voted out. Thus they at least claim accountability. In disasters, the most essential response is empathy and acknowledgment of public concerns—not suppression or demands for silence.

The Hong Kong fire has drawn global attention, causing many to suddenly re-examine the skyscrapers built worldwide over recent decades. No matter the country, these massive structures can become sources of catastrophe. I still remember watching Paul Newman’s 1974 classic The Towering Inferno, a film built around fears of high-rise disasters: a 138-storey skyscraper becomes an inferno during its opening ceremony because of cost-cutting and substandard safety systems. The film’s message was clear—human arrogance and greed can turn innovation into tragedy.

Hong Kong’s dense population means high-rise living is long normalized; Australian cities like Melbourne and Sydney have similarly embraced this lifestyle. But have we truly learned how to live safely in such environments? The fire at Hong Fuk Court—and similar tragedies like London’s 2017 Grenfell Tower fire—are harsh lessons for modern societies on managing high-density urban living.

The Hong Kong fire demonstrates clearly that the city—including its government—has not yet learned to manage such buildings safely. When officials treat victims’ questions as threats to national security, it shows an unwillingness to confront reality.

China’s rapid urbanization means cities across the mainland now resemble Hong Kong, sharing similar latent risks. Ensuring these skyscrapers are safe homes is also a pressing concern for the central government. I do not believe Beijing will ignore the lessons of this Hong Kong disaster or use “national security” as an excuse to bury the underlying problems; that would not benefit China either.

Recent developments suggest the central government may pursue accountability among Hong Kong officials. Perhaps, amid all the suffering, this is one small glimmer of hope for Hongkongers.

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Tai Po Inferno Was a Man-Made Disaster

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On 26 November 2025, a massive fire broke out at Wang Fuk Court in Tai Po, Hong Kong, during exterior wall renovation. Flames raced along the scaffolding and netting, igniting seven residential blocks at once. The blaze spread from one building to the entire estate in minutes. As of 2 December, the disaster had left 156 people dead and more than 30 missing, making it one of the deadliest residential fires in decades worldwide.

Caught between grief and fury, the public cannot help but ask:
Was this an accident, or a tragedy created by systemic failure?

A Disaster Rooted in Sheer Complacency

First-hand footage circulating online shows how quickly the fire spread. The primary cause was the use of non–fire-retardant scaffolding netting and foam panels. Under the Buildings Department and Labour Department’s guidelines, netting must be flame-retardant and self-extinguish within three seconds of ignition. But the netting seen on-site shot up in flames immediately.

Investigations revealed an even more infuriating detail:
Some contractors did purchase compliant fire-retardant netting — but installed it only at the base of each building, replacing the rest with ordinary, non-compliant netting to save roughly HKD 20,000 (about 105,800 TWD). Additionally, foam boards were used to seal some unit windows, funneling flames directly into homes. These materials had long been prohibited, yet were still used simply because they were cheap.

What’s worse, this danger was no secret.
For years, watchdog groups warned the government about flammable netting. Since 2023, Civic Sight chairman Michael Poon had sent over 80 emails to authorities about unsafe scaffolding in various housing estates. In May 2025, he specifically named Wang Fuk Court as using suspiciously non-compliant netting — but letters to the Fire Services Department never received a formal reply.

Residents also lodged complaints to multiple departments, only to be told that officials had “checked the certificates” or that fire risks were “low,” with no further action taken.

Engineers note that government inspections focus mainly on whether the structure of the scaffolding is secure, not whether the materials are fire resistant — effectively outsourcing public safety to the industry’s “self-discipline.” With lax oversight, contractors adopted a “no one checks anyway” mindset that turned regulations into empty words.

Inside the fire zone, fire safety systems also failed. Automatic alarms, sprinklers, hydrants, and fire bells in the eight buildings were all found to be nonfunctional, depriving residents of early escape warnings. Some exits were clogged with debris. It took three and a half hours from the first report for the incident to be upgraded to a five-alarm fire — a delay that worsened casualties.

From flammable materials, to inadequate government oversight, to malfunctioning fire systems, every layer of failure stacked together.
Let’s be clear: This was a man-made disaster.

Who Bears Responsibility?

If this was a man-made tragedy, where exactly did the system fail?

Police have arrested 15 people on suspicion of manslaughter, including executives from the main contractor, consulting engineers, and subcontractors involved in scaffolding and façade work.

The incident has also sparked another controversy:
Were there political–business entanglements?

DAB Tai Po South district councilor Wong Pik-kiu served as an adviser to the Wang Fuk Court owners’ corporation from early 2024 to 2025. During her tenure, the corporation approved the renovation project. She allegedly lobbied owners door-to-door to support the works and pushed for multiple controversial decisions, including simultaneous works on multiple blocks — increasing both risk and cost.

A district councilor serving as an OC adviser is a highly sensitive overlap. Councillors are expected to act as neutral third parties safeguarding public interest, whereas OC advisers handle tenders, project monitoring, and major financial decisions. The dual role naturally raises questions of conflict of interest.

Whether the OC, councilor, and contractors engaged in collusion, dereliction of duty, or even corruption remains under investigation by the ICAC and police.
But the tragedy exposes deep structural issues in Hong Kong’s building management system, which is a clear warning sign for the OC mechanism.

The Wider Problem: Aging Buildings and Weak Oversight

Old-building maintenance is a territory-wide problem. Wang Fuk Court is not an isolated case.
In 2021, Hong Kong had 27,000 buildings over 30 years old. By 2046, the number will rise to 40,000. With aging buildings, major repairs, fire system upgrades, escape-route improvements, and structural checks are becoming increasingly urgent.

But most homeowners lack engineering knowledge and rely entirely on their owners’ corporations. OC committee members are volunteers with limited time and expertise. Under pressure from mandatory inspection deadlines, they often make poor decisions with incomplete information.

Meanwhile, OCs hold enormous power — they manage all repair funds and approve all works — yet face minimal oversight. Bid-rigging and collusion are widespread.
Classic tactics involve competitors privately agreeing who should “win” a tender, distorting competition and harming owners.

Although Wang Fuk Court’s repair fund was managed by the OC, the Housing Bureau — overseer of subsidized housing — also cannot escape blame. With massive project costs and questionable workmanship, why did authorities not intervene or conduct deeper audits?
These systemic gaps enable problems to repeat endlessly.

How Australia Handles Major Repairs and Tendering

In contrast to Hong Kong’s volunteer-run OC model, Australia’s strata property system uses professional management + statutory regulation.

Owners corporations hire licensed strata managers, who then appoint independent building consultants to assess required works. Tendering follows a transparent, standardized process that includes checking contractor licences, insurance, and track records.

Owners rarely deal directly with contractors, reducing information asymmetry and the risk of lobbying. Major expenses must be approved by the owners’ meeting, and strata managers must provide written reports and bear legal accountability.

This creates clear divisions of responsibility, heightens transparency, and minimizes corruption, bid-rigging, and low-quality work. Contractors have fewer opportunities to privately lobby homeowners or manipulate the tendering process.

Is the Government Truly Responding to Public Demands?

After the disaster was widely recognized as man-made, public anger exploded.
Residents, experts, scholars, and former officials all condemned the failure of Hong Kong’s regulatory system and demanded accountability.

Residents quickly formed the Tai Po Wang Fuk Court Fire Concern Group, raising four demands on 28 November:

  1. Ensure proper rehousing for affected residents

  2. Establish an independent commission of inquiry

  3. Conduct a comprehensive review of major-repairs regulations

  4. Hold departments accountable for oversight failures

Over 5,000 online signatures were collected the next day.

Under intense public pressure, Chief Executive John Lee announced on 3 December the formation of an “independent committee” led by a judge to examine the fire and its rapid spread.

However — and this is crucial — this body is not a statutory Commission of Inquiry.
A COI, established under the Commissions of Inquiry Ordinance, has legal powers to summon witnesses, demand documents, and take sworn testimony, giving it far stronger investigative and accountability capabilities.

By comparison, the “independent committee” lacks compulsory powers and focuses on “review and prevention” rather than defining responsibility or recommending disciplinary action.

This falls far short of public expectations, raising doubts about whether the government genuinely intends to confront the issue.

A Second Fire: The Fire of Distrust

In the aftermath of the Wang Fuk Court inferno, the community displayed remarkable self-organisation: residents gathered supplies, assisted displaced families, compiled lists of elderly neighbours, and coordinated temporary support. These actions were the natural response of civil society stepping in when public governance collapses. And while contractor negligence and construction issues sparked public outrage, an even deeper anger targeted the government’s total failure in oversight and crisis management.

Ironically, as residents were busy helping one another, some volunteers were arrested on suspicion of “incitement.” The fire broke out just days before the 7 December Legislative Council election. In the eyes of the government, any form of spontaneous community mobilisation seemed to be viewed as a “risk” rather than support.

Haunted by the shadow of 2019, the authorities remain terrified of bottom-up community organising. Instead of crisis management, they engage in risk suppression—focusing on dampening social sentiment rather than improving rescue efficiency. Blame is shifted toward “those who raise questions,” instead of the systems that produced the problem in the first place.

These reactions transformed what could have been a moment of community unity into a much deeper crisis of public trust.

Beijing’s Disaster Narrative

In sharp contrast to the Hong Kong government’s understated approach, Beijing intervened swiftly and publicly. President Xi Jinping ordered full rescue efforts and expressed condolences immediately. Yet such speed also suggests that Beijing vividly remembers the 2022 Urumqi fire, which triggered the “White Paper Movement.”

In Chinese political logic, fires are never just accidents—they can become flashpoints of public anger. With long-standing grievances over housing policy, old-building safety, and the culture of unaccountability, Beijing moved quickly to prevent emotions from spilling over.

Notably, the Office for Safeguarding National Security in Hong Kong issued a statement during the rescue phase, warning that “anti-China, destabilising forces are waiting to create chaos,” emphasising that political stability overrides everything else.

Under China’s crisis-management style, officials frequently shift public focus from “the causes and responsibility of the disaster” toward “the hardship and heroism of rescue workers.” Following the Wang Fuk Court fire, some local media began flooding the airwaves with stories of brave firefighters and tireless medical staff, all being positive narratives that subtly eclipse the underlying issues of flammable materials, broken systems, and weak oversight.

By swiftly arresting a few contractors and engineers, authorities aim to frame the incident as the fault of several “technical offenders,” preventing accountability from extending to systemic failures or government departments.

This narrative reframes a man-made tragedy into a supposed showcase of “government mobilisation,” diluting public scrutiny and preventing grief and anger from evolving into collective resistance.

A particularly important detail:
In the early stages, several Western media outlets focused heavily on the idea that “bamboo scaffolding is inherently risky,” while barely discussing the scaffolding netting, material quality, or regulatory negligence. This inadvertently echoed the Hong Kong government’s early narrative frame. It also exposed a cultural bias—an assumption that bamboo equals danger—overlooking the rigorous safety standards of Hong Kong’s traditional scaffolding industry. As a result, some international reporting unintentionally helped divert attention away from structural, institutional failures during the crucial first days.

Who Should Be Held Accountable?

The shock of this catastrophe lies not only in the scale of casualties but in the fact that behind what seems like an “accident” are layers of systemic failure—from flammable netting and dead fire-safety systems, to weak regulation, chaotic building management, bid-rigging culture, and the government’s post-disaster reliance on a national-security framework to manage public sentiment.

So, the fundamental question remains:
Who is responsible for this fire?

As of the copy deadline (3 December) and after the seven-day mourning period, Hong Kong has seen zero officials, zero government departments, and zero senior leaders take any responsibility. Whether this was an accident or a man-made disaster is beyond obvious, yet the government—obsessed with saving face—refuses to admit regulatory failure. Instead, it blames bamboo and a handful of contractors, shrinking a deeply interconnected man-made catastrophe into the fault of a few convenient scapegoats.

AFP put it bluntly when a reporter asked Chief Executive John Lee:

“You said you want to lead Hong Kong from stability to prosperity.
But in this ‘prosperous’ society you described, 151 people have died in a single fire.
Why do you still deserve to keep your job?”

From 2019, to the pandemic, to the collapse of the medical system, and now this fire—no one has ever been held accountable for catastrophic policy failures.

What Can We Do?

The disaster is far from over. The real challenges are only beginning: nearly 2,000 households across the eight blocks face long-term displacement, trauma, and the struggle to rebuild their lives.

For Hongkongers and Chinese people living in Australia, what can be done?

Perhaps the answer is simpler—and more important—than we think:
Support those affected. Emotionally, psychologically, and materially. Even from afar, offering solidarity, sharing information, donating to practical assistance, or simply staying engaged with the issue matters.

After a tragedy like this, our role is not only to mourn.
It is to refuse to let the disaster fade away without accountability or reform.
And it is to remind ourselves, gently but urgently:
cherish the people beside us, and hold close those who still walk this uncertain world with us.

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