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hong kong film

A unique whale named 52Hz vocalizes at a frequency significantly higher than the typical calls of most whale species. It is believed that other whales cannot hear their calls, leading 52Hz to be described as the ‘world’s loneliest whale’. Pau poetically connects this unique whale to the stories of a sex worker, a YouTuber, and school bullying.

Based on a true incident in 2019 when a notorious pro-Beijing Hong Kong politician openly displayed his camaraderie with the triad goons who attacked peaceful protestors. Wong's sophisticated, compact drama goes beyond agitprop and grapples with complexities and tensions in the movement. The same district election featured here is documented in Memories to Choke On, Drinks to Wash Them Down.

An early film by Tianyi Movie Company, founded by Runme and Runde Shaw, which will later be known as the Shaw Brothers studio

Fantasy from Hong Kong directed by Fung Chi-Kong.

Hong Kong movie

Stark though it is, the roof terrace with its low ochre-red wall and washed turquoise abstract seems the nearest thing to a garden among the forbidding cliffs of mass housing that rear up all around. Like bold tendrils of organic life, three young girls appear with jump ropes and show off some individual fancy licks, before switching to a stately coordination mode. Their bright white ropes make squiggles in the air like waved sparklers at night, while wrists and feet maintain a rock-steady beat. The joy of skilled movement, of pure synchrony, illuminates their faces.

shaw production

2019 in Hong Kong, protests become our daily life. The stuffs in the streets after each protest are changing our urban landscape, and they become the view of our everyday life. Graffitis on walls, unscrewed railings, bricks, respirators, safety goggles. Everything records what has happened in the city and witnesses our beliefs. I walked through the streets with my camera after protests. Mr. LIU Yi Chang let the objects tell the story in his nouveau roman short story, Riot, in 1968. Likewise, I let the objects play the narrators and tell us about the protests. Moreover, there are conversations and dialectic between different narrators…

On 6th March 2011, 113 protesters in Hong Kong were arrested for "Unlawful Assembly" after they stormed the traffic lanes of Central during a demonstration against the budget proposal. Protesters were placed in the canteen of the police station for questioning in groups due to inadequate rooms. Three protesters and three police officers, six people with different political views sitting around the table. The copy machine is out of order; it's going to be a long night. So they started chatting.

Two men, taught by the same master, find themselves destined to cross swords.

Hong Kong horror movie from 1952.

In 1995, the young Taiwanese woman writer Qiu Miaojin committed suicide in Paris's Montmartre district, leaving behind the autobiographical novel LAST WORDS IN MONTMARTRE. Two decades later, the novel was published in English by the prestigious New York Review Books, bringing Qiu renown in Western literary circles and quickly prompting translations into other European languages. Qiu is considered the first openly lesbian novelist in the history of Chinese literature; her debut novel, NOTES OF A CROCODILE, became a "Bible" for the Taiwanese lesbian community and an underground classic in Taiwan and Hong Kong, with an official edition finally published in 2012. DEATH IN MONTMARTRE travels through Taiwan, Paris, and New York to trace the life of this literary star who enjoyed fame only after her death, interviewing literary masters from Taiwan, France, and the U.S. while discussing LGBTQ culture and lesbian literature from a perspective of equality.

From April 3 to 6, 2021, RubberBand held the Ciao 2021 concert at the Hong Kong Coliseum for four consecutive days. Many of the band's classic songs, such as Guo Huo, "Song Against the Current," "Discovery," "You and Me" and "See You in the Future," were newly rearranged for the tour. Patrick Lui Jazz Orchestra and a cappella group AMuiXis were also invited to perform, creating new musical sparks for the concert. RubberBand especially wrote the new song Ciao to reflect the tour's theme of separation and reunion.

Hong Kong movie

Inspired by a photograph taken by a French soldier in the early 1900s of a ‘lingchi’ execution, Chen created a high-impact film that reconstructed this brutal form of punishment for criminals who had committed heinous crimes in feudal China. Lingchi – Echoes of a Historical Photograph opens with the gruesome execution of a condemned man in extreme slow motion. The crowd of witnesses eagerly await to collect blood and pieces of skin. Chen interweaves the event with images of the ruins of the Summer Palace after the second Opium War (1860), and also with remnants of abandoned factories and suffering workers. While the recurrent appearance of the haunting black wounds on the condemned man’s chest connects history with the present, it is also a provocative yet cruel metaphor for the cultural and political hegemony from imperialism to the current global context. Chen’s film opens a dialogue with viewers on the ruthless and barbaric events that happen in contemporary society.

The movie is named Fu. This Chinese character represents good luck and yearning for a better life in the future. We animate the Fu and some traditional patterns. We hope that no matter what cultural background the viewers come from, this film can arouse their yearning for a better future and the passion for life.

Three gangsters were hired by a businessman. They originally planned to carry out a fake robbery so that the businessman could successfully defraud a huge amount of insurance money. It is a very simple task, but it turned into a death catastrophe that affected the whole world. The gangster boss (played by Sam Gor) is a decisive, ruthless and vengeful man. He leads two subordinates, one is loyal and calm (Abi), and the other is very lustful and neurotic (Apo). It seemed to be a simple fake robbery, but because (Apo) killed the businessman driver by mistake, the whole plan was ruined. The businessman then planned to set up an ambush and arrange for multiple killers to kill the three people, but he was annihilated by the boss instead. Later, The boss planned to settle a score with a businessman, but he found a suspicious doctor outside the office door.

Liu Xiu Cai goes out to sell woolen threads. On his way to sell woolen threads, he encounters heavy rain, so he runs to Qiong Fang store to take shelter from the rain, and then stays there for the night. But Qiongfang's store is a haunted house, and in the middle of the night, the ghost of Liao Xiaoqiao appears and asks Liu Xiucai to help her take revenge. In the end, Liao Xiaoqiao possessed herself inside an umbrella and succeeded in avenging her death.

Escaping a maximum-security political prison was the easy part for resistance leader Larry Rourke, unaware that the ruthless warden engineered the breakout to track him straight to the rebels' secret headquarters. Now, allied with a mysterious, unpredictable cult, Rourke is forced into a deadly game of cat-and-mouse against an entire army. Can he outmaneuver the regime before leading them directly to the destruction of the underground resistance?

This documentary depicts the stories of four Chinese activists—Xie Wenfei, Zhang Shengyu, Chen Yunfei, and Liu Ping—who faced torture. It also invites Hong Kong participants Chan Ho-wun, Li On-yin, Chen Hung Sau, and Cheung Chiu-hung to experience and reflect on these situations through simulated installations. The film highlights that in the advancement of human civilization, "human rights", "rule of law", and "democracy" are mutually indispensable and interdependent. In countries ruled by authoritarian regimes, the rule of law cannot be upheld, let alone the protection of human rights.

Makino Takashi takes us to a place where different rules apply. He overwhelms us with his universe, which is built up of countless images, figurative and non-figurative, accompanied by an equally sophisticated soundtrack. At times very abstract and distant, at others almost palpable and narrative. We naturally seek recognition in the infinite layering of the images, and in so doing compose our own story, based on what we ourselves know of the world, using our personal references to help us. In this way, a work arises unique to every viewer, which continues to reverberate long after we leave the cinema.

Wong Boon-kap has recently returned from his studies abroad. Following the orders of his father Tai-ming, Boon-kap goes undercover as a mechanic apprentice in the father's factory to spy on their staff while keeping an eye out for talents. The boot-licking the factory manager Fung Hon-wing and his secretary Cheung Pat-fu respectively enlist their goddaughter Lam Hap-ping and niece Cheung Yuk-lin to join the ranks of the female workers to unveil the identity of the young boss. Ho Chui-wan lands a job at the factory through Lam's connection. Ho's disapproval of the practice of fawning and sycophancy rampant in the factory gains Boon-kap's respect which develops into romance. Tai-ming shatters the heated rumour that the young and promising Hung Yuet-keung is the young boss by announcing the wedding of his son, Boon-kap, to Ho to the huge disappointment of Fung and Cheung.

In this deeply moving tale, a wealthy young man, Tak (Pak Wan), falls in love with his aunt’s servant, Ling (Pak Yin). However, their relationship is cut short by the stark difference in their social statuses. Unbeknownst to Tak, Ling becomes pregnant and is cruelly cast out of her employer’s household, facing the stigma of unmarried motherhood. Tragedy soon follows as her child suffers from an acute illness, forcing Ling into prostitution to survive. Her plight worsens when she is falsely accused of murdering a client who has, in fact, committed suicide. When Tak, now a lawyer, learns of her suffering, he returns to seek justice for her.

A fascinating glimpse of the Chinese diaspora across southeast Asia, this Hong Kong production follows a wayward husband through Southern China and Thailand, and tracks the travails of the wife he leaves behind.

In the space of the metropolis lives the lost girl Orlandina, who is programmed for self-destruction. This film is about the real, about the man himself, about the soul of man. You live, breathe, walk, the soul subconsciously, unconsciously returns you to its root, awakens gene memory.

Hong Kong movie

Mong Kok First Aid investigates the experiences and unheard stories of a group of young volunteers who provided First Aid services to wounded participants during Hong Kong’s landmark Umbrella Movement of 2014. Just half a decade later, their first-person narratives reveal an intense feeling of time passing and memories fading, as this documentary seeks to challenge history by intervening to supplement the record. After all, who decides whose story can be a part of history?

Routine unfolds like an uninterrupted long take, and depicts a taxi ride from Tsim Sha Tsui Pier to the office of the Chinese Student Weekly in Kowloon Tong. It shows the street scenes of Hong Kong in 1968 and the state of mind of a Hong Kong young man after the 1967 Riot.

On her mother's order, Luk Wai Wai goes to the Shi family to serve her eccentric aunt, Mrs. Shi, but she accidentally witnesses a murder and is almost killed by the murderer, Tam Pak Lam. The murderer, Tam Pak-lam, is almost killed by her. In order to avenge his father's death, Tam Pak-lam sneaks into the Shi family to carry out his murderous plan.

As Hong Kong increasingly loses its sovereignty under China’s control, Momo leaves home for Berlin, hoping to finally breathe the air of freedom. But life doesn’t look like what he imagined—instead of advancing his fashion career or finding love, he ends up working and living in a Chinese supermarket. Momo soon finds himself straying even further, going on an uncanny journey with other outcasts in the city of Berlin.

In the wake of cataclysmic regional change in the artist's homeland of Hong Kong, Simon Liu’s Cinema-Strobo-Scopic film features a laborious sequence of analogue darkroom practices and dense shrouds of video processing techniques which actively work to both conceal and reappraise approaches to personal expression in the face of censorship. Times ahead and behind collide - a new linearity is in need of; the glittering lore of the way things were, generations lost to resolution errors. Sifting through new realities of misinformation, digital consciousness, and cultural disappearance, "Single File" seeks new lexicons of disobedience through formal experimentation.

Ching Kwok-yuen, a bird hunter, sees a female ghost harming people and shoots her to scare her away. The female ghost harbors a grudge and waits for a chance to retaliate, but soon the female ghost disguises herself as a woman who sacrifices her husband in front of a grave in order to seduce Kwok-yuen, who falls for the plan and marries the female ghost.

The essence of "The Pearl of Tailorbird" lies in the fortuitous poetry generated through the process of multiple translations – avian to human, phonetic to semantic, textual to visual – in which the latent porosity of language helps give birth to multi-layered resonances. For Hayama, this kind of whimsical linguistic deconstruction underscores the central role of language in the process of anthropocentric world-building – and offers a method for transforming hegemonic modes of knowing into ones perhaps more sensitively attuned to our own origins in the natural world. Coaxing a depth of associative meaning from the rhythmic interplay of sound, text, and imagery, The Pearl of Tailorbird perhaps most resembles lyric poetry – or a hermeneutic puzzle – given spatial form. (www.emptygallery.com)

In late 2015, a group of high school students arranged a four-day exchange program between an international school and a local school in Hong Kong. The exchange was filmed by a team of students from both schools and developed into a 40-minute documentary titled, “One Education, Two Systems”. The aim of the project was to develop mutual understanding and appreciation between students at international schools and traditional local schools in Hong Kong and help bridge the divide in the education system. At the same time, the documentary also seeks to spark discussion on education-related topics, various disparities and other differences between the two systems (teaching styles, mental health, learning attitude, general atmosphere and competitiveness).

Qiu Ying is a jealous dancer. Although she has been married for more than ten years, she still has a lot of control over her husband's every move. One day, Qiu Ying saw her husband chatting with a dancer and became so jealous that she argued with her husband and then killed him by mistake. She was about to run away, but she entered a park by mistake, and was so frightened by the murals of the Ten Emperor's Palace and the Nine Hells that she ran home. After returning home, Qiu Ying feels more and more uneasy and has to take sleeping pills to get some sleep. During her sleep, Qiu Ying dreams that she is in the underworld and witnesses all kinds of tortures in the hell. After waking up, Qiu Ying is deeply condemned by her conscience and decides to confess and turn herself in.

HK horror crime.

Adam Wan, a homosexual young man who grown up in Hong Kong, trying hard to fight for rights of LGBT community, realising difficulties when achieving such goal, including conflicts with his father. He found frustration with his surroundings, thinking about how everything ended up in current societal situation. He begins to re-examine the society he lives in, his family, himself.

"This is a story of fall: of falling into traps and for lies and scams, of falling in love and falling out of love, and of falling for your own lies and falling back into the old ways, spectacularly. Michelle enrols in a self-help course in the hope that she will make her married lover come to his senses and treats her right. When the chanting of positive self-affirmations – Peace! Friendship! Love! – descends into uncontrollable screaming and wailing, will the newly converted be able to see things in a new light or will she wrapped herself up in the shining armour of self-victimisation to keep her from hurting?"

High Noon was Sham Ka-ki's breakthrough in acting. At the age of eighteen, he directed his debut documentary short film, Life Must Go On. The film documents and exudes the joy of youth through cinematic images that observe Sham’s surroundings and his quotidian life in a stiff housing estate. In this short film, he questions the meaning of life, but finds answers to and proof of happiness from friends and family.

For years, he has neglected his family in Hong Kong to tend his business in Mainland China. Back in Hong Kong after his father's death, the man discovers his son's childhood diary. As he reads about his son's life with his father, the man realizes that he has let his son's childhood pass by him. Filled with regret for both his father and his son, the man decides to make an effort to mend his relationship with his son. However, is it already too little, too late?

Not really note worthy action movie from the Philippines.

Jacky, a Vietnam-born Chinese man, lives under the flyovers in Sham Shui Po. Despite living on the streets, he still has the aura of an ex-triad leader. However, he has lost his will to live after being tormented by a chronic illness. (華語紀錄片節 Chinese Documentary Festival 2014, 采風 Visible Record) Dir. 徐智彥 / Chui Chi Yin 香港 Hong Kong / 2014 / 37 min

Nurse Lin is hired by a wealthy family to care for Mr. Kao, who has lost his mind since his daughter, Ling Kuan, died. As Lin resembles Ling Kuan, her nanny asks Lin to impersonate her to help Mr. Kao recover, which works well. Lin then uncovers a secret: Ling Kuan had loved a music teacher, Qiufan, but her cousin, Yiu Tong, envious of Mr. Kao’s wealth, slandered Qiufan. One night, Yiu Tong attacked Qiufan and attempted to assault Ling Kuan, accidentally killing her. To cover up the crime, he staged her death as a suicide. Later, Nurse Lin and Qiufan, pretending to be ghosts, trick Yiu Tong into confessing. In a panic, Yiu Tong escapes, but his mistress Huigu causes a fire that kills them both. Disheartened by the truth and his burning home, Mr. Kao walks into the flames.

It is tough for stray animals to survive in the highly populated Hong Kong, and it is even tougher for mongrels - a breed that is shunned and despised by most. Helen is a volunteer in a dog shelter. She is having a good relationship with the mongrel Cha Siu. One day, Cha Siu causes some troubles which change its life. The manager of the dog shelter has to make a life-or-death decision to maintain the service of the shelter. As unjust as it may seem, the decision is effortless and easy for the manager to make, but the consequence that follows is beyond her wildest dream.

After his success as a martial arts film star, WONG Joi made a fatal decision to write and direct his debut feature Golden Sword Woman, with his beloved wife Mei-fung starring as the eponymous heroine. Years later, a senile, demented WONG, who keeps blabbering about his ‘groundbreaking’ debut, is being taken care of by his grudging son Ho. The film parodies the visual style of the Shaw Brothers martial arts films to tell the story of a contemporary father-and-son conflict and reconciliation. Golden Sword Woman travels in time and between both sides of the silver screen, between the romantic world of swordsmen and the unpromising, secular family life.

In a desperate act of erasure, he inhales the scent of chocolate paper—a futile ritual to suffocate his memory. Now, the man wanders a labyrinth where waking and dreaming bleed into one question: Can escape exist when every oblivion resurrects him?

With the form of remote audio conversation for its main narrative, the essay film consists of four chapters, each of which has its own focus but is also interconnected with each other. Blending voice narratives in four languages, moving images and literary texts, the film is mainly made from home video collections created in the 1990s from both filmmakers’ families, with home videos shot in the 1960s by a Hong Kong family as interludes. The film not only unfolds how East Asian families created their own image with amateur filming devices but also tells stories of migration, travelling, growing and familial relationships.​

Away for years, what is the unit for alienation? The saxophone at the intersection eleven years ago, the Korean music on the street four years ago, the flight broadcasts after the epidemic, the voices of family members, the days and nights when Taipei and Hong Kong were at a standstill, some moments linger.

Born with three eyes, Kam Wai-sang was abandoned in a Buddhist temple and later studies under the martial arts master Chong Yuk-ying. Wai-sang chances on the acrobat artist Wan Ming-chu, whose sickly mother requires the medical expertise of the chivalrous knight Kam Cheuk-hung. The ruffian Yau Ba-tin craves for Wan and abducts her masquerading as the knight. Wai-sang must rescue Ming-chu but mistakes and misunderstandings ensue. Can he save her, and her mother, before it is too late?

Hong Kong horror movie from 1963.

The story follows a gray bear who ventures from the forest searching for a more fulfilling life in the city. She makes a concerted effort to imitate human actions and conceal her true self, worried about being uncovered. One day, a small bee flies into her house, unknowingly marking the beginning of her journey to escape her struggles.

Ching’s mother asks Ching to take her grandmother in until she is sent to a nursing home and that makes her ponder over her relationship with her mother. Three generations of women, each has their own share of pain.