While all around is an impersonal world of concrete blocks of buildings and technical gadgetry, the two mutual strangers try to breach the communication gap essentially through a cerebral process built upon the perception that they are both modern nomads who must try to deal with their sense of desolation and lack of identity. Law proves that she has the knack of creating something out of ordinary material. She nurtures her characters, eliciting charming performances from the actors no mean feat when one considers how mundane her characters and settings really are. Finally, Autumn Moon also assumes a minor significance in retrospect since its ingredients are really the fuel that stokes the engine of The Goddess of 1967 . They embark on a journey into the outback heart of darkness which isn t unlike the empty shell of Hong Kong s modern heartland of apartment blocks where the majority of Hong Kong people dwell.
Migration appears to be a quest for the impossible a redemption of one s soul in a foreign land.
Unlike her other pictures, however, Autumn Moon possesses a more benevolent heart. It may well be a study in postmodern angst but Autumn Moon s contemplations on the pitfalls of travel and migration endow it with soul.