This paper will examine the ambivalences and contradictions in post-handover Hong Kong cinema through the lens of gender, border, and the body politic in three crime films. The first of them, Intruder (恐怖雞Kongbuji,1997), released when sovereignty over Hong Kong had just been transferred from Britain to China, may evoke a “crisis of masculinity” through its border-crossing female antagonist; in contrast, the portrayal of women, as well as transgender and queer people, in Ming Ming (明明,2006) and I Come with the Rain (2009), appears to be more nuanced. Reading the three films against one another and against established narratives about the city, I intend to investigate how these films adopt gendered narratives and the questions of border in the construction of identity politics in post-handover Hong Kong. By juxtaposing the fluid, unstable, and multi-faceted bodies of fictional characters with the city’s history, this paper argues that the representation of past and future in these films reflects the struggle to narrate anxiety and hope in post-handover Hong Kong.