10 / 10
Official trailer
Infernal Affairs is Andrew Lau and Alan Mak’s 2002 Hong Kong crime thriller and the source film for Martin Scorsese’s 2006 The Departed. Tony Leung Chiu-wai plays Chan Wing-yan, an undercover police officer who has spent ten years inside a triad organization. Andy Lau plays Lau Kin-ming, a triad mole who has spent the same period inside the Hong Kong police. Mak and Felix Chong wrote the screenplay. Media Asia Films produced the film, and it opened in Hong Kong in December 2002. The work spawned two sequels and wide international distribution.
The film works as a crime thriller and as a study in the costs of sustained deception.
The work depicts both protagonists across the long-term psychological consequences of their respective deceptions. Neither character is the conventional hero or villain that crime narratives typically deploy. Both are men whose actual identities have been considerably erased by the roles they’ve maintained for a decade. The film’s broader argument is that sustained deception destroys the deceiver regardless of the deception’s nominal purpose. The structural design uses the parallel deceptions to develop the argument from both directions.
I much prefer this to its Hollywood remake. It’s tighter, sadder and colder than The Departed, and the two leads carry an exhaustion that affects me. It’s a 10 for me because every scene pulls on the same wire, two men who’ve lied for so long they no longer know who’s underneath, and the film never lets that wire go slack.
The Parallel Structure
The film’s structural innovation is the parallel development of two opposed protagonists who occupy mirror positions within their respective organizations. Chan works as police officer inside the triad. Lau works as triad inside the police. The film tracks both characters across the same time period with sustained attention to how their parallel situations develop. The parallel structure allows the work to develop its broader argument about deception from both directions.
The parallel structure also produces dramatic situations that single-protagonist narratives can’t generate. Each character’s actions affect the other character’s situation. The audience receives information that one character has that the other character doesn’t. The accumulated dramatic tension depends on the audience’s expanded knowledge relative to either individual character. The structural design uses the parallel narratives to produce engagement that either narrative alone couldn’t support.
I love watching the film play the two moles off each other. Every time one of them edges closer to the truth, I can feel the other one tighten, and the cross-cutting makes the film feel like two men holding their breath in the same room.
For Writers
Parallel narrative structures can produce dramatic engagement that single narratives can’t generate. Infernal Affairs develops two opposed protagonists in mirror positions whose parallel narratives generate accumulated tension. This applies to fiction. Consider whether your work benefits from parallel narrative tracks. The parallel approach requires careful preparation to maintain coherence across both tracks. The single-track approach is easier to manage but limits the dramatic engagement available to the work.
The Two Lead Performances
Tony Leung Chiu-wai’s performance as the undercover officer Chan is the one I keep coming back to. The character has been undercover for ten years at the film’s opening, and Leung shows the cost through controlled physical work that suggests the man’s interior collapse without ever displaying it. There’s a tiredness in his face that no line of dialogue could explain, and it’s the part of the film that stays with me longest.
Andy Lau’s performance as the triad mole Lau works differently. The character has successfully integrated into the police organization across the same decade. The actor establishes the character’s apparent comfort with his deception while suggesting the underlying psychological cost that the deception has produced. The two performances are complementary studies in how the same situation produces different consequences depending on individual character resources. The actors’ parallel work supports the structural parallel that the film’s broader argument requires.
For Writers
Parallel performances can develop a single dramatic argument from complementary perspectives. Infernal Affairs uses the Leung and Lau performances to depict different consequences of similar sustained deceptions. This applies to fiction with parallel character development. The parallel characters should produce different responses to similar conditions in ways that develop the work’s broader argument. Identical responses produce decorative parallels. Differentiated responses produce structural depth.
The Hong Kong Setting
The film sits within a particular Hong Kong setting that the parallel deception narratives require. The Hong Kong police-triad dynamic has historical specificity that distinguishes it from generic crime drama settings. The post-1997 transition period that the film’s production moment occupied informs the depicted institutional dynamics in particular ways that later Hong Kong cinema has continued to engage with.
The setting also works as visual character. The cinematography uses Hong Kong’s urban density, its rooftops and its building types as dramatic elements. The famous rooftop confrontation between the two protagonists is my favorite scene in the film, two men in suits with the whole city spread out behind them and nowhere left to hide. I can’t picture it working in any other city.
For Writers
Specific settings carry dramatic weight that generic settings can’t match. Infernal Affairs works against particular Hong Kong urban geography that supports the film’s dramatic content. This applies to fiction. Consider whether your settings carry particular weight or are generic backdrops. Specific settings produce distinct dramatic situations. Generic settings produce dramatic situations the work could have positioned anywhere. The specificity is often what makes a work memorable.
Craft Note
Lau and Mak’s collaboration on Infernal Affairs and its sequels produced a crime trilogy that ranks among the most accomplished in contemporary cinema. The structural design across the three films required preparation that exceeded what either director could have managed alone. The collaboration allowed the parallel narrative structure of the first film to expand into more elaborate parallel structures across the later works. The trilogy’s coherence depends on the sustained directorial partnership instead of on isolated directorial decisions. The lesson applies to creative collaboration broadly.
Multiple-film projects benefit from sustained partnerships that allow shared vocabulary to develop. The work that emerges from established collaborative partnerships has depth that one-off collaborations across the same materials wouldn’t match.
Is Infernal Affairs as good as people say?
Infernal Affairs is the strongest single Hong Kong crime film of its decade, and it holds its own against any crime thriller I can name. The parallel structure produces tension that single-narrative crime films can’t generate, the two lead performances are complementary studies in sustained deception, and the Hong Kong setting carries a weight no generic city could match.
It’s a 10 because I can’t find a wasted minute in it.
The parallel structure, the two lead performances and that rooftop all serve one idea about what a decade of lying does to a man, and the film commits to that idea all the way. If you’ve only seen The Departed, go back to the source. I think it’s the better film, and it’s the one I’d hand to anyone who cares about crime cinema.
Frequently Asked Questions
- Infernal Affairs, Wikipedia
- Infernal Affairs, RogerEbert.com
- Infernal Affairs (2002), IMDb
