Johnnie To is set to direct Tony Leung in a gangster film that is targeting a release in 2027.

      Although once immensely and astonishingly productive, Johnnie To has only released three features over the past decade, and his recent interviews have suggested a somewhat pessimistic view regarding new projects––whether it’s the long-awaited Election 3 or something else. (There has been no recent news since he was reportedly seen filming something, which has been the strongest statement we've managed to offer for quite some time.) Therefore, reading in the Hong Kong publication HK01 (via Google Translation) that today marks the beginning of location scouting for a new film featuring Tony Leung, which––I hope you’re prepared for this––“centers on gang conflicts in Hong Kong,” brought a genuine thrill. Filming is expected to occur mainly in Hokkaido, Japan, with a release anticipated in 2027.

      Little news from 2025 has been so heartening. (The only other item that comes to mind is this––truly a Chinese century.) Despite being two of Hong Kong’s prominent figures, To and Leung have worked together surprisingly rarely, with each collaboration being a less prominent title in their filmographies: Tomorrow, The Royal Scoundrel, Lucky Tomorrow, and To’s ghost-directed The Longest Nite. (I've seen one, and if you've seen more: much respect.) One might wonder if this new project is in any way influenced by their recent collaboration as jury members at the Tokyo International Film Festival, during which To commended the “delicious dishes” Leung suggested. (Joking aside, it’s as valid a reason as any for selecting a filming location.)

      During a career-spanning retrospective in New York last year, To was frequently questioned about the possibility of a new film. He informed our own Daniel Eagen that he had begun working on a project about the Hong Kong handover but, after two days, found he “could not concentrate somehow.” While he hasn’t entirely abandoned this feature, he expressed a desire “to create a happy film.” The same interview hints at a potential Japanese influence in this new endeavor: To considered the idea of merging Hong Kong cinema’s “robust technical foundation and a globally recognizable spirit” with the resources of other Asian countries––including financing. Whatever it takes, especially given how beautifully To could capture the country.

      P.S. While researching for this article, I came across a 2023 interview where To candidly expressed his opinion about Everything Everywhere All at Once: “Listen, I don’t know why this film can get any awards. No idea. I can’t accept that.” Although it isn’t directly related to the above discussion, if you’ve read this far, you’d likely find it interesting.