Olivia Khoo provides a detailed analysis of Hong Kong's "first" independent lesbian film Ho Yuk in terms of narrative construction and cultural Asian cinema. Discerning binaries of haptic and virtual connections, and the paradoxical inertia of mobility, stasis, and sensations implicated by the conservative and fastpaced urban context; Ho Yuk locates the "impossiblity" and placenessness of lesbian life between three female protagonists. Khoo also debates the authenticity of the film's status as a groundbreaking independent queer Asain text that projects an unconventionally unsensationalized representation of Chinese lesbianism.