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He Who Chases After the Wind
Movie

He Who Chases After the Wind

1988 • Unknown

Woke Score
1.2
out of 10

Plot

Basically a love story with a prerequisite sub-plot about a crazed killer trying to avenge his brother.

Overall Series Review

He Who Chases After the Wind is a 1988 Hong Kong production blending crime thriller elements with a dark, obsessive romance. The plot centers on a plainclothes policeman who becomes infatuated with a psychologist after killing a burglar at her home, who turns out to be the brother of a vengeful killer. The policeman’s actions, including fabricating a situation to get closer to the psychologist by having his own brother feign mental illness, drive the narrative. The ensuing drama is one of personal obsession, professional misconduct, and a cycle of revenge, characteristic of the era's crime dramas. The focus is entirely on individual character psychopathy, lust, and jealousy set against a Hong Kong backdrop, with no themes related to contemporary Western identity politics or ideological lecturing.

Categorical Breakdown

Identity Politics1/10

The film is a 1988 Hong Kong production with an entirely local, non-Western cast. The conflicts and character dynamics revolve around crime, revenge, personal obsession, and professional ethics. Character value is determined by individual actions (policeman’s stalking, killer’s vengeance, doctor’s profession), not by race or an intersectional hierarchy. There is no critique or vilification of 'whiteness,' forced diversity, or historical 'race-swapping.'

Oikophobia1/10

The narrative is a genre thriller focusing on criminal and psychological drama within a local Hong Kong setting. The story does not contain any hostility toward Chinese or Western civilization, nor does it attempt to deconstruct the nation's heritage or institutions. The plot is concerned with individual moral failures and a desire for revenge, not civilizational self-hatred or the 'Noble Savage' trope.

Feminism2/10

The female lead is a professional psychologist, a position of merit and career fulfillment. However, the plot frames her primarily as an object of the male protagonist’s obsessive affection and a victim in the crime and romance plot. A female police colleague is shown to be professionally capable but is driven by jealousy and unrequited love to commit an unethical act (handing over a diary). Men and women hold distinct roles but the narrative’s focus on the female leads as romantic targets or jealous rivals aligns with traditional melodrama tropes rather than modern 'Girl Boss' perfection or anti-natalism.

LGBTQ+1/10

The core relationships driving the plot—the policeman’s infatuation with the psychologist and the police colleague’s unrequited love for the policeman—are strictly heterosexual. The narrative's focus on obsession, revenge, and crime contains no element of queer theory, alternative sexualities being centered, or commentary on gender ideology or the nuclear family structure.

Anti-Theism1/10

The film is a secular crime and romance story. Character motivations are entirely humanistic and secular, driven by revenge, love, and professional duty. There is no religious element, no criticism of faith, and no representation of Christian characters as bigots or villains. The moral framework is based on legal and personal responsibility rather than a lecture on moral relativism.