A Hong Kong without traffic jams and crowds is a phenomenon eerier than any alien invasion or zombie outbreak, and it’s what the passengers of a minibus have to cope with when they find themselves the survivors of a strange pandemic in “The Midnight After,” a deliriously high-concept and gleefully low-budget horror-comedy that mourns the dissolution of the city’s core values since its handover to China in 1997. Maverick helmer Fruit Chan (“Made in Hong Kong,” “Durian Durian”) bends genre like it’s putty in his hands, distilling the macabre from the everyday and making the apocalyptic seem absurdly matter-of-fact. Fest play is assured, and ancillary prospects in overseas Asian-friendly niches look hopeful.

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