Josie Ho’s signature film Dream Home is finally lifted from its ban; the international cut premieres in Hong Kong, leaving audiences stunned by its gory violence.

(Hong Kong, Feb 1) Hong Kong multi-hyphenate 何超儀 (Josie Ho) made headlines as her 2010 cult thriller 維多利亞壹號 returned to the big screen in a newly presented “International Version,” premiered in Hong Kong under director 彭浩翔 (Pang Ho-cheung). The film—produced and led by Ho and her husband 陳子聰 (Conroy Chan)—previously earned major attention, including awards recognition and a Best Actress nomination for Ho.

Ho said the re-release feels like long-awaited vindication. She explained that the local version shown years ago had been edited to meet Hong Kong’s film classification requirements, meaning audiences did not get to see the most complete cut at the time. Now, 15 years later, the more intact version is finally being screened publicly in Hong Kong.

Reports also note that the project holds special meaning because it was the first film produced by the couple’s “852 Film Company,” and the re-release coincides with the company’s 20th anniversary. Chan recalled that the film’s intensity had been “internationally tested” since early festival screenings, and its reputation has remained a talking point ever since.

Ho shared that the decision to make a thriller with such a bold tone was tied to her early career circumstances and her family’s encouragement to start her own company. With introductions from friend 麥浚龍 (Juno Mak), the couple connected with Pang, and Ho said she was immediately drawn to the script. She also spoke about the character being described as an “anti-hero” in overseas coverage, adding that the role matched her own strong personality and offered a channel to express it on screen.

The Hong Kong premiere reportedly drew enthusiastic reactions, with lengthy post-screening queues for autographs and a university talk that ran far beyond its planned schedule due to heavy student participation. Despite long-standing overseas interest in remakes and possible follow-ups, Ho said she has repeatedly declined, describing the film as deeply personal—“like a first child”—and insisting that she would rather not proceed if it cannot remain true to the original.