There are few Hong Kong films about Tibetan tantra. Earlier "Lama in Red" and "Master of Tantric Buddhism" were all kung fu films with the sign of Tantric Buddhism. In "The Legend of Wesley" starring Samuel Hui, there is a small Nepalese Buddha with supernatural sensing ability; In Lan Naicai's two films "Peacock King" and "Asura" adapted from Japanese comics, Yuan Biao plays the Tibetan tantric Lama, mainly telling the story of Buddhist magic against evil spirits; But none of these movies mentioned the word psychic. However, several Hong Kong films about Tibetan tantra after the upsurge of special functions in Gambling Saint all played the banner of special functions. The film "Tantric Veyron" also explains the causes of special functions from the perspective of Tantric Buddhism: Tantric practitioners attach great importance to practice, that is, sticking handprints and reciting the true scriptures, and handprints are a way to show their attitude towards the gods and buddhas and convey their hearts; Fingers bent and straight or palms clenched represent different meanings. With the help of relative truth, that is, incantations, we can communicate with God, fuse God's power with ourselves, and produce supernatural power, which is called special function.

After The Peacock King and Asura, Yuan Biao played the Tibetan Lama again, and he directed it himself and filmed the Potala Palace in Tibet, which was quite generous. Special function is the theme that runs through this film. Yuan Biao's master Laxi showed his hand as soon as he appeared, and walked around Roy Chiao's old man's body with crutches, which cured his disability.