all focus on problems involving Vietnam. They are about the tragic destinies of displaced individuals seeking a place to which they can belong and who are struggling in a period of changes, leading in the end to failure." Boy from Vietnam (1978) is the first film of Hui's Vietnam Trilogy. It chronicles a teenager's illegal entry to Hong Kong and adjustment to life in the city. "As the boy locates his brother, who is already in Hong Kong, moves from a safe house and takes up work, Hui and writers Shu Kei and Wong Chi carefully shed light on the hardships immigrants face in Hong Kong. The new home, it turns out, is no promised land for refugees but more a transit point on a journey elsewhere, and a place where injustice and prejudice are common." This film is historical: in the late 1970s, a large number of Vietnamese boat people illegally immigrated to Hong Kong. This film describes the experience of those who risked their lives in Hong Kong, and shows the setbacks, discrimination and exploitation they experienced when they were only teens. In 1981, The Story of Woo Viet continued to describe the problem of Vietnamese boat people. Woo Viet, an overseas Chinese of Vietnam, smuggles himself into Hong Kong after trying many times. He gets a pen pal from Hong Kong to help him start over in the United States. However, he is stuck in the Philippines as a hired killer for saving his love. This film describes the hardship of smuggling, the memories of war, the sinister nature of refugee camps, and the crisis in Chinatown. In 1982, the People's Republic of China, having just ended a war with Vietnam, permitted Hui to film on Hainan Island. Boat People (1982) set in 1978, after the Communist Party lead Vietnam, through the point of view of a Japanese photojournalist, Shiomi Akutagawa, showed the condition of society and political chaos after the Vietnam War. Boat People was the first Hong Kong movie filmed in Communist China. Hui saved a role for Chow Yun-fat, but because at that time Hong Kong actors working in mainland China were banned in Taiwan, Chow Yun-fat declined the role out of fear for being blacklisted. Six months before filming was set to start, and after the film crew was already on location in Hainan, a cameraman suggested that Hui give the role to