"I graduated from the Beijing Film Academy in the ’90s, and I did study a lot of wuxia pictures. Since I graduated, I’ve been making movies that have nothing to with wuxia pictures. But I do want to experiment with different genres, I feel that they speak to the social complexities that are mounting more and more in China’s contemporary realities. When I was in university, I was writing about how all the wuxia films I had seen were indeed political allegories. They portray individuals suffering the pressures and injustices of society, and that brings about a tragic destiny where they have to resort to violence. I see this in direct connection to the state of things now in contemporary China, the social injustices felt by ordinary people who have no means of expressing their state, who must resort to violence to treat violence. It’s a tragic situation that things have not really changed for the destiny of ordinary people. I wanted to open up this discussion.” [x]
"I think that within the wuxia form, the characters are all imbued with a mysticism. They’re warriors that can fly through bamboo forests and they have special powers. In A Touch of Sin the characters are ordinary people. They don’t necessarily have kung fu skills. When they encounter these acts of violence and begin using their own violence to counteract what was inflicted upon them, they go through a transformation and become like the mystical warriors of the wuxia films. So I’ve treated every instance of violence in the film as though it were a mystical event. Because they’re so surreal and out of the ordinary. Perhaps most of us have never conceived a degree of violence in our quotidian lives. And oftentimes we just learn about the final result of these violent acts through news, but we can’t imagine the process that leads to this result, so it’s all imaginary.” [x]
— Jia Zhang-ke on the influence of the wuxia film on A Touch of Sin.