This paper analyzed the films that Ann Hui produced after 1990s by focusing on the placeness and the aging. In that period, her films attempted to interpret the culture of Hong Kong from the subjective perspective and express it, a city by using delicate lens language. It describes characters who are decentralized in China which has been the origin of the Hong Kong’s culture, and stresses the local identity and the solidarity of Hong Kong, by arousing Hong Kong of 1980s as the object of memory and nostalgia. Moreover, it intends to reorganize the combination of places and characters, the collective memorization of the local history and the community relationship, by referencing to the daily life of the middle-low class. Ann Hui presented a series of films featuring female characters as heroines, who are the same age as her. The films primarily with the background of the Chinese mainland first suggested the incongruity of places and characters, violent emotions and anxiety about the aging, but showed the recognition of spatial difference and the attitude of the transcendental life, as she became older. The film may be the one in which attachment to the placeness of Hong Kong and the overcoming of opposite recognition on the space simultaneously occur.