The paper studies Mainland Chinese female characters in post-1997 Hong Kong cinema. The films to be studied mainly include: Love Will Tear Us Apart (dir. Yu Lik-wai, 1999), Hollywood Hong Kong (dir. Fruit Chan, 2001), Night and Fog (dir. Ann Hui, 2009) and Port of Call (dir. Philip Yung, 2015). Analysis of these films that portray Mainland Chinese women highlights the diasporic identities—an embodiment of borders in question (Tololyan, 2007), as well as the diasporic consciousness, which is “an intellectualization of the existential condition” (Safran, 1991). Representing “a segment of people living outside the homeland” (Connor, 1986), these diasporic women are rendered as the underprivileged who are restrained by their illegal immigration into Hong Kong. With limited working opportunity, these immigrants are relegated to hard laborers and sex workers, suffering from material deprivation, social discrimination, and sexual violence. Whereas diasporic female characters in the films are featured with geographical, physical, and psychological dislocations, these dislocations further convey emotions such as anxiety, confusion, and disillusionment invoked by differential circumstances. The diasporic consciousness illustrates an increasing tension between Mainland China and Hong Kong as of the 1997 handover. The depictions of these female characters bring to light the difficulty of their self-identifications, which simultaneously speak to their alienation both from Mainland China and Hong Kong. Meanwhile, these depictions serve as a reminder of all hitherto connections between Mainland China and Hong Kong, however controversial they could be.