The durian is a huge and thorny fruit that, although famed for its awful smell, tastes delicious. It is often known in the east as the “king of fruits”. As well as appearing in the film, its presence in its title also indicates its dual nature.

This film explores the consequences of social change in China through the development of the story of Fan, the illegal immigrant girl that featured in ‘Little Cheung’. Here, Fan strikes up a friendship with fellow immigrant Yan, a prostitute from the north of China who endures the harsh conditions of her job in order to attempt to turn her profits into a success back in the mainland.

One day, her pimp, is knocked unconscious after being hit from behind with a durian in a random act of violence. Due to the nature of her profession and temporary residency, Yan is unable to seek police help, and asks Fan's mother for aid. She is also unwilling to become involved, however, for fear of drawing attention to their illegal immigrant status.

The chance encounter between Fan and Yan proves to be the start of a friendship between the two, and as their relationship progresses, similarities between the two emerge. The two mainland immigrants find their optimistic view of Hong Kong crushed through lack of opportunity, economic survival, and marginalized existence.

Chan creates a depressing view of Hong Kong, focusing on its cramped rooms and dark alleys. This mood is heightened by the dark, saturated hues, rapid cuts, and hand held camera shots. This contrasts to his calmer and tranquil view of northeast China that appear in the second half of the film where the mood is exaggerated through use of longer shots and more sedate editing.

The British handover of Hong Kong back to China in 1997 is a symbolic national home coming demonstrated as a personal account with the lives of Fan and Yan. They find themselves alienated from their adopted home and yearning for the accustomed routine and uncomplicated existence of their native land. Inevitably, what emerges is a sense of disconnection, neglect, and irreconcilability that constantly echoes the incongruence and ambiguity of existence in post handover Hong Kong. Fruit Chan creates a heart warming and thoughtfully realised film on disenchantment and nostalgia.