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The Umbrella Movement was a wave of street protests that took place in Hong Kong from September to December 2014 as a reaction to oppressive practices of the Chinese government against the citizens of Hong Kong dissatisfied with planned changes in the electoral system. In her feature film debut, To Liu captured the citizens of the western part of Kowloon, Mong Kok, whose protests might not have been as visible as those of the leading activists, but were no less important. The documentary rhythmized by opening entries and darkening of the scene, much like the director’s first film, follows two characters, a master and an apprentice.

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.

This documentary focuses on the female Chinese writer Xiao Hong and her traveling during the Sino-Japanese war years between 1932 and 1942.

Everyone has secrets. ‘He’ has one hidden for many years. He wakes up one day to find himself locked in an enclosed room. Did he lock himself there? If not, who did? As he tries to escape from the room, he starts to realise his secret may have led to his imprisonment. Can he escape?

Choi Yuen Village faced demolition by the express rail project. In 2009, villagers protested and petitioned, sparking the anti-express rail movement. Despite their efforts, the railway plan was approved in early 2010. Forced to choose between leaving or rebuilding, they opted for the government’s land rehabilitation scheme to create a new village together. With volunteers, they searched for land in Pat Heung and fought to prove their status as farmers. Many outsiders misunderstood, believing the villagers received generous compensation and government help. Yet, it was the villagers’ shared determination and love for their land and way of life that carried them through, even as the once-barren longan trees bloomed again in 2010.

Produced during the 25th anniversary of Hong Kong’s handover from Great Britain to Mainland China in the wake of cataclysmic regional changes, Simon Liu’s dizzying, claustrophobic Let’s Talk captures the anxiety of an uncertain future.

Lana faces an unplanned pregnancy and travels alone to LA to give birth, where she strikes an unlikely friendship with Mae, the owner of the Korean nail salon down the street.

A story of four women who take belly dancing lessons to escape from their lives.

In a quiet night, a sleepy writer battles against sleepiness and writer’s block.

Two policemen, intent on their dangerous mission to uncover the truth at all costs. Putting into question the price of their friendship.

Just Like Snakes is a reinterpretation of the popular Chinese folklore The Legend of the White Snake. In the traditional story, a white snake transforms into a woman and falls in love with a man. When a monk discovers their transgressive romance, he punishes the snake by imprisoning her in a pagoda. This tale has been celebrated across Asia for centuries, evolving to reflect the changing morals of each era. Commissioned by CHAT (Centre for Heritage, Arts and Textile) in Hong Kong, Just Like Snakes responds to the city’s first Chinese musical based on the same legend, created by the iconic Chinese diva Rebecca Pan. Through music and dance, the film questions the limitations of story archetypes. Revisiting the folklore as a metaphor for contemporary society, it proposes: now that the pagoda—representing restrictive societal constructs—has collapsed, how might we observe and adapt to a shift in paradigms that calls for new orders in our world today?

Chinese Opera from Hong Kong directed by Chun Kim.

John and his wife Mary come to Canada, where their neighbor is a single female guest, Wansi. One night, when Mary came back from the dance, she found a woman hanging in the house.

Folding together a mediated memory of a Hong Kong thoroughfare, missives to an imprisoned acquaintance, and an artist’s subversive street art, Chan Hau Chun’s Map of Traces is at once precise and slippery in its exploration of presence and absence.

In Hong Kong, echoes of resistance and turmoil are sensitively captured on 16mm in this poetic rumination of public spaces and everyday life in a metropolis in upheaval.

In a city that worships money, there is a group of people who still insist on living the philosophy of "people are not living on food alone." Instead of choosing to live in seclusion, they choose to actively enter the world, improve their hearts, and influence others through artistic creation. Their innovation has not only driven the art world in Hong Kong but more importantly, through their enthusiasm for creation, they have made us understand that as long as we have a "heart", no matter how difficult the environment is, we can persist in a "love".

The script is composed of three stories set in three different time periods and three different locations. One story takes place during an ascent of the Himalayas, another on a crossing of the Atlantic Ocean, while the third happens on an ocean-going fishing trip. The motivation/objective in every story is a quest, and hiding underneath under every motivation is the deepest level of human nature.

Ma and his friends trace a sea monster from a fairy tale they heard on the floating island.

A collection of flip books, created in collaboration with a group of students at a workshop at the Single Frame Animation Centre.

a film by Apichatpong Weerasethakul

Part of ...Will Be Televised: Video Documents From Asia. As Hong Kong readies for the inevitable change of governance in 1997, these young artists contemplate their shared history and present anxiety. Poised on the cusp of a great change, these artists mix their ambiguous feelings towards the British colonial past wit nostalgia for a national identity. The expected return to the "motherland" of China takes on an ominous cast in the light of the Tiananmen Square events. The eclectic mix of style and rhetoric that characterizes this compilation reflects the myriad of influences that besiege this international center, a crossroad of culture and controversy whose next location in history has yet to be determined. Works: Image of a City by May Fung and Danny Yung; Group Exercise by Victor Chan and Kuan Punleong; Diversion and TV Game of the Year by Ellen Pau; She Said Why Me by May Fung.

An office worker’s encounters with a caterpillar unlock childhood memories, looping through time, blending the mundane and the magical.

A Hong Kong Cantonese film released in September 1948.

A normal day, a normal family in Hong Kong, a normal school girl and a normal incident at home.

Li Xiaoxia thought her lover Song Danping had died, and asked her father if she could become a nun. Her father, the warlord Li Xianchen, was outrageous and beat her with a cane. Soon the Japanese invaders were approaching, thus the warlord sent his daughter to Shanghai for shelter. Song jumped into the running river but did not die. After some time he came to Shanghai where he joined the anti-Japanese guerilla headed by Sun Xiaogou. Song killed a number of Chinese traitors and earned himself a name "the midnight man".

She is a Hong Kong journalist, and he is a national security personnel from China. They met each other while traveling in North Korea and later hung out to see a play together in Shanghai. In 2019, they lost contact. Five years later, they reunite when he is reassigned to Hong Kong. Is she still holding a grudge, or is water under the bridge now?

After releasing the album Wake Up Dreaming in late 2014, Jacky Cheung held a small concert at Beijing's National Olympic Sports Center on May 24, 2015. The Wake Up Dreaming Concert only hosted 8,000 audience members at the venue, while its livestream accumulated 50 million views. The concert is now released as a live video album featuring the pop king's impeccable performances of the songs on Wake Up Dreaming and other select hits and medleys.

Yingtai disguised as a man studied with Liang Shanbo. Forced to marry another, Liang died heartbroken. She leapt into his grave; both transformed into butterflies.

Ting's hometown was far away, but now she had made her home on Nam Kok Road (meaning "The Southern End") in Kowloon City. Ting wanted to go around and know the area. The various trivial things she saw on the streets invoked many inner thoughts and monologues in her. When the night came, she wrote down “words about staying”. While she was wandering on the street, she walked past countless walls of silence where time had left marks on.

Faces & Places - Till We Meet Again is a Hong Kong made-for-TV-movie starring Andy Lau

After the 2014 Umbrella Movement, Hong Kong Democrats divided into two groups with differing beliefs and protest methods. ‘Community March’ members, often labelled as leftards, focus on fearless community work and caring for minorities, despite not joining frontline protests. Senior journalists Lo King Wah and Kong King Chu highlight their dedication to community service and democratic ideals, showing how they persist in voicing concerns and promoting democracy despite political repression.

A bloody gangland war breaks out when a young drug lord, West, decides to take out the long reigning underworld kingpin Chang and double cross him on a large shipment of drugs. A special agent who has infiltrated West's organisation must battle both sides when the conflict spirals out of control.

A short amateur student film about a westerner in Hong Kong amidst a time of social upheaval.

Memory of My Country

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.

How far would a man go for money, women and power and who would he betray? How much would a woman sacrifice for love? Nine, daughter of a triad boss, travels to Beijing in a bid to win back her boyfriend, Chung, refuting the suspicion that he’s absconded with the gang’s money. With the camera trained on her wide-eyed face, Nine leads Chung on a whirlwind adventure through the capital’s sinister underbelly where their paths cross with those of low-life thugs, each having a role to play in a clever ruse to ferret out a snitch. With 10 million dollars at stake, emotions are running high and tension is taut and each puff of smoke is harrowing.

Documentary on Professor Situ Zhaodun of the Beijing Film Academy

A cultural worker turned farmer extols the healing power of nature, a sea-diving model tackles marine pollution, a wildlife buff practises ‘wellness photography’, and a real estate agent channels his love of birds into paintings.

Integrating sand animation and traditional cel animation, this short film is a poetic response to the soaring suicide rate in a concrete jungle.

Twelve-year-old scuba diver Ema sets out on a quest to find out why corals around the globe are dying, but are somehow more resilient in Hong Kong.

Early Shaw Brothers Cantonese musical

A Trip to There is an experimental video essay from my documentation of my younger days. I rearrange my materials along the timeline and transform the past and unchangeable events into dialogues with new contexts, creating a journey that penetrates spatial and temporal boundaries.

Hong Kong Anti-Extradition Protest

Sequel of “Even Ants Strive for Survival” (2017). To earn money for his ailing father's medical expenses, Ma Second needs to attend a job interview. The process is constantly haunted by past experiences, like a nightmare, which he responds to with intense, frantic behavior. Viewers concerned about Hong Kong politics will easily understand Ma Second's anxiety and see the director's strong self-expression.

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.

Sammi Cheng performs live for her 2004 Concert Sammi Vs Sammi

A psychologically disturbed taxi driver navigates a surreal and dystopian nightmare.

Studious university John is in trouble: His stress at school is causing him to develop insomnia, and he's so deep into his own world that he can't make any friends at school. On the other hand, his roommate Neil is friendly, socially popular, and can get any girl he wants – including the girl John likes. However, the more Neil acts like himself, the more he finds people telling him how much he's changed. This mind-bending drama explores the nature of identity, self-image, and what shapes us into who we are.

One ordinary Sunday, the husband woke up from sleep, had lunch with his wife at noon, the wife went out in the afternoon, the husband fell asleep again, a director came to see him... In this ordinary day, the husband, wife, and director look like they care about and communicate with each other, but they are actually talking to themselves, and the most important thing is the end, the wife asks the husband to get up to eat. So is this husband's experience a dream or a reality?