Produced on a shoestring budget, the film was a surprise hit, beating Star Wars: The Force Awakens at the Yau Ma Tei cinema where it was first released.

[1][2] Due to the film's sensitive political themes, mainland Chinese authorities censored reports mentioning Ten Years except in terms of condemnation.

Prior to an International Labour Day celebration in 2020, government officials concoct a false flag assassination plot to foment public support for legislation of the National Security Law.

While the two argue over who should fire the gun, the director of the Liaison Office decides that the leaders of both the TMD and the Fortune Parties are to get shot with real bullets, so as to instigate greater panic in the territory.

[5] Au-yeung Kin-fung (Ng Siu Hin), a young hardline supporter for Hong Kong independence, becomes the first to be convicted under the National Security Law and dies during a hunger strike in prison.

Au-yeung's allies, led by Marco (Neo Yau), break into and set fire to the Central Government Liaison Office in Sai Wan, while a group of Christians gather and pray outside the British Consulate-General to urge the Britons to uphold the Sino-British Joint Declaration co-signed with the Beijing authorities.

The Communist Party labels the demand for independence a diplomatic affair, thereby justifying the deployment of the People's Liberation Army in the city.

The storytelling is intertwined with interviews with commentators analysing ongoing events and providing background information such as Hong Kong's removal from the UN decolonisation list in 1972 at China's behest.

He then visits his egg supplier, farm owner Cheung who recalls the government's actions to gradually kill off the industry despite the fact that he has been meeting their demands.

Sam's store is frequently checked by Youth Guards, members of a Red Guards-like uniform group, since his use of "local eggs" on his label is on the censor list.

[11][12] On 1 April 2016, with no cinemas screening the film despite high demand, Ten Years was simultaneously screened at 34 different public locations around Hong Kong, including the underside of motorway flyovers (in Sham Shui Po and Mei Foo), the public steps leading to the Sha Tin Town Hall, and the forecourt of the Legislative Council Complex.

[18] At the only cinema showing it in the week of its opening, it grossed more ticket sales than Star Wars: The Force Awakens,[5] and ranked top ten in Hong Kong's weekend box office.

[22] The Hong Kong Economic Journal called it "well-constructed", and wrote: "Viewers will realize that although some of the scenes may seem unfamiliar and others way too radical, the stories are always anchored on developments in the past and the present.

Perhaps the true value of Ten Years lies in how uncomfortable it is to us all... As a portrayal of our worst fears, it is arguably the quintessential political horror film of our time.

Ten Years is not a forecast calculated via econometric modelling; it is simply a portrayal of the Hong Kong public's worst fears.

"[25] The same reviewer observed a message about belonging in Hong Kong: "For example, Extras and Self-Immolator [...] portray mainland immigrants, South Asians and elderly characters without treating them as antagonists or resorting to stereotypes.

The latter film even features a mixed-race relationship, advocating the idea that Hong Kong identity should be based on civic, not ethnic, factors.

Crucindo Hung, former chairman of the Federation of Motion Film Producers of Hong Kong, criticised the award as "an out-of-your-mind and outrageous decision.

"[27] Lam defended his remark from criticism, but earned further rebuke to his statement by implying that a wonton noodles shop never ought to be voted best restaurant in Hong Kong.

[29][30] On the other hand, the Chinese Communist Party-controlled Global Times called the film absurd and ridiculous, and accused the filmmakers of trying to spread anxiety.

[35] During the week of 11 April 2016, Apple was ordered by the Chinese State Administration of Press, Publication, Radio, Film and Television to shut down its iTunes Movie and iBooks stores,[38] which had been approved approximately six months earlier.

For instance, the Japanese version would explore a country "plagued by pollution and aging" as well as a "society where morality and personal history are manipulated by technology."

"Surveillance and government control" in a Thailand a decade hence will be envisaged by director Aditya Assarat, while the Taiwanese project foretells an island where "immigrant workers are systematically exploited and the loss of culture and dropping birth rate" have caused its inhabitants to turn to "virtual reality escapes.