A newly issued trailer confirms that Tsui Hark’s 1984 screwball romance “Shanghai Blues” will reach North American cinemas later this summer in a 4K restoration supervised by the director and long-time producing partner Nansun Shi. Film Movement will handle U.S. bookings, beginning with a run at New York’s Metrograph before a national arthouse roll-out and digital launch.
The restoration draws on the film’s original camera negative and was completed at Bologna’s L’Immagine Ritrovata laboratory, with Hong Kong outfit One Cool Sound remixing the score and dialogue tracks. Debuting in Cannes Classics last year to a sold-out Buñuel Theatre crowd, the print subsequently toured the Far East Film Festival, where programmers praised its “cleaned-up visuals and region-accurate Shanghainese and Mandarin dialogue.”
U.S. audiences have had scant access to “Shanghai Blues” since the VHS era; the restoration remedies that gap with a disc edition set for 28 March 2025 under the World Cinema Library banner, joined by bonus interviews and a booklet essay on Tsui’s early career.
Set against wartime Shanghai, the film follows three dreamers uneasily sharing a tenement as the city rebuilds—material that critics have likened to Hollywood screwball classics filtered through Hong Kong pop energy. Tsui said in production notes that the new grade “restores the saturated neon palette I always imagined but could never fully show on 1980s release prints.” Film scholar Victor Fan calls the picture “a watershed moment when Hong Kong cinema turned nostalgic without surrendering its manic pacing,” noting that its revival coincides with a resurgence of repertory interest in the territory’s pre-handover output.
Programmers at the San Diego Asian Film Festival, which will host the film in October, say workshops with the restoration team will accompany screenings to highlight preservation techniques for East Asian negatives long considered lost or damaged. With Metrograph already reporting strong advance sales, distributors believe the 40-year-old comedy could mirror the recent arthouse success of restored Jackie Chan and John Woo titles, introducing a new generation to Tsui’s genre-bending verve.