17 Matches Found
Australian stuntman Grant Page travels to Hong Kong to find Bruce Lee's successor and looks at the cultural phenomenon that Asian martial arts has become in the West. He talks to actors such as Angela Mao, Stuart Whitman and George Lazenby - who were all making movies in Hong Kong at the time - and fights Carter Wong twice.
This documentary tells the story of Bruce Lee and his unsuccessful efforts to start a acting career in the U.S., he returned to Hong Kong where he became an international star, and his death at age 32.
A look at Shaw Brothers Studios in their prime. Includes: interviews with David Chiang; exploring the Shaw Brothers sets; a look at the craftsmen, foley artists and stuntmen of Shaw Bros.; a profile on Run Run Shaw; Italian-meets-Chinese kung-fu films; and a visit from Peter Cushing.
The first episode of Patrick Tam’s anthology series “Seven Women” (1976)
Betty Ting Pei provides in-depth insight into her relationship with Bruce Lee and the circumstances surrounding his mysterious death.
The fourth episode of Patrick Tam’s anthology series “Seven Women” (1976), which adapted from Swedish play “Miss Julie”
Made for German TV documentary about the early craze of Hong Kong Martial Arts Cinema. While critical on the subject and not too well informed, it nevertheless offers some interesting insights into the Hong Kong film industry of that days.
Promotional film on the making of 'Enter the Dragon.'
The third episode of Patrick Tam’s anthology series “Seven Women” (1976), with three short stories combined.
A short film that originally played before showings of "Heroes Two" - in which Fu Sheng, Chen Kuan Tai and Chi Kuan-Chun demonstrate different techniques of Hung boxing.
The sixth episode of Patrick Tam’s anthology series “Seven Women” (1976), which adapted from Pat Flower’s “The Tape Recorder”
Experimental short made by Terry Tong in 1976. Taking the form of chess animation, the film is accompanied by a Chinese musical score of the same title. It expresses the confrontation and antagonism between two armies.
In the last episode of Patrick Tam’s anthology series “Seven Women” (1976), Lisa (Lisa Wang) suffers from "environmental depression" and those around her treat her like a lunatic. Joyce deploys a creative mix of dialogue and monologue to illustrate Lisa's complicated personality. She might act like any normal obedient daughter around her parents, yet other times she reveals her overly sensitive and suspicious mind as her moods run the gamut from poetic to violent. The villa where Lisa is sent to heal becomes a tumultuous battleground when a young doctor who has his own psychological hang-ups begins treating her and a conflict of egos is ignited.
Hong Kong Diaoyutai Movement (1971) documents HK youth protesting the U.S. decision to transfer the disputed Diaoyu Islands to Japan alongside Okinawa's return. The protest joined the transnational Baodiao movement, launched by overseas Chinese students in America and taken up across Taiwan and Hong Kong in defense of Chinese territorial claims. The film was produced by 70s Biweekly, a radical publication that served as a crucial platform for political debate among young Hong Kong intellectuals. Co-founders Ng Chung-yin and Mok Chiu-yu, who organized the demonstrations themselves, commissioned directors Law Kar and Chiu Tak-hak to create a documentary from inside the movement. The camera moves with the protesters, capturing chants, gestures, and surging crowds as they unfold. This approach transforms cinema into a tool of activism—the filmmakers weren't documenting history but participating in it, positioning the camera as part of collective action rather than a neutral observer.
Set in Hong Kong, the narcotics documentary Opium: The White Powder Opera (1976-77) was commissioned by a British television station. Yung, its associate producer and cinematographer, joined the surveillance team of the Narcotics Bureau to acquaint himself with the workings of the drug trade. This paved the way for The System. In addition to the cat-and-mouse game between the cops and the druglord, a fascinating thread traces the relationship among dealers, junkies and mules in Sai Ying Pun. The title hails from Brecht’s The Threepenny Opera, another tragedy concerned with a capitalist society’s oppressed and exploited nobodies.
Frank Kehl illustrates the vibrancy of the Chiu Chau Ghost Festival in urban Hong Kong, as the city comes alive with vibrant rituals and community events at a time when ghosts and spirits are free to wander the earth.
A Hong Kong production blending the breathtaking highlights of 1973's Asian-African-Latin American Table Tennis Friendship Invitation Tournament in Peking with the accompanying cultural explosion of songs, music and dances.