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The social, political and cultural complexity of post-war Hong Kong (1945–1997) produced a highly fragmented, unsystematic, and historically transient mode of critical debate on the cinema. One film scholar, however, Lam Nin-tung (林年同 Lin Niangtong, 1944–1990), tried to systematize the debate and proposed a thought-provoking idea: jing you [geng jau 鏡游] or mirroring-drifting. In this article, I argue that Lam’s theory is best understood as an attempt to re-examine the relationship between the subject and the object in cinematic perception, a project motivated by a subjectival crisis embedded within the social, cultural and political complexity of the historical period.