This is certainly the case for me after again reading and teaching Wu Zhuoliu's 吳濁流 1946 novel Orphan of Asia 亞細亞的孤兒 (Leo Ching's great review of the text here -- and I'd say that the English translation by Ioannis Mentzas reads wonderfully) in a postcolonial literature course.
Furthermore, toward the end of Wu's novel, we witness a state during the turmoil of the Second Sino-Japanese War, a populace under increased Japanization, and an economy strained to the point that malnourishment is prevalent. In such an environment, Hu Taiming finds himself depressed, anxious, paranoid, and both psychologically and physically ill. Within a comparative analysis, one notices that the moment in which Hu Taiming might be most grateful for the departure of the Japanese is the moment in which, in Cape No. 7, the departure of the Japanese is arguably conveyed with a sense of sorrow and loss.
Most importantly, any comparison between the texts becomes exceedingly complex -- after all, Hu Taiming in the novel forges a solid friendship with a Japanese colleague named Sato, and is sad to see his friend return to Japan -- so one returns to the historical-material context depicted, the time periods in which the two texts were produced, their linguistic characteristics, the nature of both individual and collective memory, and the formal qualities inherent to both literature and film -- and all of this seems necessary to re-ground oneself in order to initiate a new comparative question that again leads to an almost infinite set of variables worth consideration.