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Temptation (誘惑) is a 1954 Hong Kong drama film directed by Doe Ching. The film was produced by Runde Shaw for Shaw & Sons Co. Ltd. and is based on the screenplay by Doe Ching and the original story by Hsu Hsu.
Dr. Samson, inventor of the Hyper Travelling system, has disappeared along with his invention during an experiment on the planet Leo, and it looks like the work of the Zoic Empire. The Earth Defence Force sends Superior Falcon 7 to rescue the scientist and save the Universe from certain catastrophe. There is no silver lining in the race, only the winner survives.
Music Documentary with Eason Chan.
1956 film from Hong Kong, produced by Shaw Brothers.
Vietnam. The last days of the war. A crack squad of Army special forces commandos led by Johnny Reynolds undertakes an unauthorized combat mission behind enemy lines with disasterous results.
Hong Kong movie
Ah Poon is a man of strong principles, and adopts Lu Xun’s quote of “Fierce-browed, I coolly defy a thousand pointing fingers” as his motto. When he gets into a fight with school authority because of something written by his daughter, he takes his daughter away in rage. Is Ah Poon right or wrong?
The swimming team is deflated after its captain, Tin Heng, passed away tragically. However, a reserve of the team, Gei Yuen, works his way up in hope to represent his captain in competitions and to boost the team's morale. His mind may be focused on Tin Heng whom he idolises, but he cast his watchful and silent infatuated glances on Tsz Suen, Tin Heng's girlfriend and member of the girls' swimming team, who remains aloof and even apparently nonchalant about her boyfriend's death. Gei Yuen originally thinks Tsz Suen is dismissing her emotions to mask her sadness. However, he finds out that she is harbouring a secret...
Hong Kong horror movie from 1951.
Malaya Love Afffair 马来亚之恋 was financed, written and directed by Tsi Lo-lin, and it broadly focused on the themes of education, assimilation (of Chinese immigrants in Malaya), romance, kinship and traditional values.
Caught between two entirely different women, an artist finds himself in conflict between the spiritual and the sensual, and at the same time lost creatively in the cultural clash between East and West. Based on Ho Fan’s 1966 experimental short Assignment, Part One, Lost depicts the artistic and carnal obsession of the modern creative mind. A departure from mainstream Cantonese and Mandarin films with European and Japanese new wave influences, it is shot with the colours of the 1960s and Lishan, Taiwan as backdrop. Sun Po-ling, an artist in her own right, co-directed and invested in the film, acting also as producer and make-up artist. She took the film to premiere in Cannes in 1970 and then screened it in Germany and the United States, while her ambition to release it locally in the foreign films theatre circuits did not materialise. Lost for half a century, this pioneering independent feature in the 1960s resurfaced in a print found in Taiwan by Reel to Reel Institute (Hong Kong).
It was raining non-stop when Hong Kong was rocked by the tumultuous events of October 2014 (the "umbrella movement"). In a fixed sequence shot, the film captured students meeting each other in the hall, in the rooms, discussing, arguing about or remaining indifferent to the event, while it continued to rain outside.
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 movie
Every three months, a Chinese single mother, Xue takes a 10-hour-journey from Hong Kong to her hometown in Fujian, China with one hand dragging her heavy luggage and another hand holding her child. She has to extend her visiting visa to stay with her family, which migrated to Hong Kong when she was 8. In 1980s, the Chinese local government would let the family migrate except one child, so they would send money back. The tragic starts from here.
A broom spirit disguises itself as a pretty woman at night and goes out to do evil deeds, seducing young men and then killing them. In just three months, hundreds of men have fallen victim to the broomstick spirit.
Hong Kong film directed by Chan Wan.
HK horror film.
In 1941, Hong Kong was the Casablanca of the East, a city full of war refugees, profiteers and spies. With the sudden attack by Japanese troops, a Canadian soldier's Christmas promise is broken during the Battle of Hong Kong.
Waking up on time. Starting work on time. Leaving the office on time. Having meals on time. Going to sleep on time. He works in a micro space station on a tiny moon orbiting a mega planet, day after day, night after night. Is it real? Is it life? He never thinks about questions like these until she shows up. She wants to disrupt his routine. She tries to short-circuit him. Why does she want to do that? Can she succeed in saving him from this loop?
Falling petals, flying snowflakes, fragments of memory…all are transient just like our dreams. Without thoughts, there need not be a concrete plot or captivating story to tell. Just as philosopher Zhuang Zi wrote--the fools think they are awake. Each scene and image exudes illusion and fantasy. The absence of plot and dialogues allows freedom in interpretation and clarity. The symphony of images becomes a poem for the audience to treasure. Cinema is dreamy in nature, allowing the true poetic spirit to thrive—when we rid ourselves with thoughts.
Cantonese adapted version of ‘Waiting for Godot’ staged in Hong Kong
“History is not just a matter of date”, said Chris Patten in his last speech as British Governor of Hong Kong, shortly before the United Kingdom handed administration of the province back to China in 1997. In DECAMERON, Rita Hui Nga Shu combines this speech and other historical sources with fiction and contemporary images. Her gripping documentary takes a critical look, for example, at the question of what Hong Kong actually is at this particular moment in time.
A film produced in collaboration with Beijing-based collaborator Yuan Yuan which interweaves 16mm film and DV video with textual intertitles and fragments of voice-over narration. Merging aspects of visionary cinema, landscape film and home movie, the film combines footage shot in Manhattan Chinatown, Hong Kong, and Beijing into an intimate reflection on the act of physical and spiritual passage between a series of pressurised and rapidly shifting temporalities governed by different myths of order.
In Breaking the Willow, tells the story of two Chinese women, of different dynasty & society, their personal link to a bejeweled Phoenix Tierra. Cui, a woman of humble background, who divorce her husband to marry again for comfort, who dreams her husband will gain title and bring the official Phoenix Tierra to honor her. One day her dream come true but is too late. Hsiao Yu, a beautiful songstress from a royal decent of the past dynasty, meets the First Scholar and falls in love. The day after their wedding, the husband is called for the frontier. The fallen Princess wears her Phoenix Tierra to bid him fare well poetry.
Hong Kong movie
Tanaka, a scientist with a past, is unable to face the sight of the atrocities he committed as a germ-war researcher during WWII. Martin, miraculously returns from the dead, recruits an ace but evil Ninja, Simon, to retrieve Tanaka and the formula. Lung, a master of a lost art joins the battle and goes head-on with Simon. The Japanese samurai and the Chinese martial arts finally encounter. battle between Ninjitsu finally starts. At the same time, Tanaka takes the plunge. In a burnt laboratory, he uses the golden horn to locate the germ formula. Despite the heroics, Tanaka's gang is pursued once again by Martin, Daniel and Simon. Tanaka finally gets the formula but it is shot from his hand again. The ghostly image floods Tanaka's mind and he is left laughing in an insane heap.
Having devoted much of his career to programming and film history research, Law Kar, a.k.a. Uncle Kar, places himself before the camera for the first time. This nostalgic trip down memory lane, as he recounts his personal and cinematic experiences, from film criticism, experimental filmmaking to auditioning for Federico Fellini, cumulates in a brief history of Hong Kong cinema itself. Reflecting on the past 80 years, Law Kar's affectionate documentary sheds light on local movies and Chinese cinema, brooding over the socio-political transformation of our perplexed city, as the restless cinephile ponders the role cinema and art play in times of crisis.
The crime syndicate demands that Cheng Chung-bo lead the way to the treasure trove, holding his family hostage. Booby-trapped, Cheng Fai disengages the device and flees to join Flying Heroine Ma Chau-wan and Detective Wong. Meanwhile, the ingenious scientist Dr Ng is enlisted by the ringleader Ho Kei-ming to match wits and brawn with Fai and Ma. Ma slyly earns the trust of a bewitched Ng, claiming to be Fai's biggest foe. Ng ushers Ma into the headquarters where he meets his doom. With his patience running out, Ho grasps an apprehended Chung-bo on a treasure hunt while the pursuers are diverted from their course. Ma recognises her long-lost father from among the gangsters and brings him to his senses with words of absolution. The father pledges his alliance to the duo in crushing the gang and saving Chung-bo and wife.
The detectives of "Brad and Bonnie's Detective Agency" investigate on a crime syndicate who kills female models at "Judy Chen's Modeling School". It starts a war between the detectives and the evil henchmen which leads to the final confrontation. Hong Kong cut and paste edit of the 1987 Taiwanese film "火爆浪女 " (Lover and Killer) with new ninja scenes.
Overcoming a mid life crisis, an unlikely character inadvertently creates one of the world's hardest ultramarathons. This intrepid adventure becomes a journey into humanity’s indomitable spirit.
In order to avoid young women being selected to enter the imperial palace, the parents hastily arrange marriages for their unmarried daughters with men they deemed suitable.
A Shaw and Sons production.
Inspired by the untold personal story of the 19th-century Chinese poet and revolutionary Qiu Jin, Wu Tsang brings to life, subverts, and re-enacts the lesser-known romance and friendship with calligrapher Wu Zhiying. Set in contemporary Hong Kong, the film shifts between time and space, past and present, fact and fiction through Tsang's continued exploration of language and misinterpretation.
Two 16-year-old girls, Qian and Vicky, are torn between the lines of friendship and romance, unsure where they truly stand, as they rehearse for a love drama in summer holiday. Before the school starts, the secret kissing plot is exposed and their show is banned. Yet, it unfolds Qian’s courage that she decides to make a bold move on the first school day.
Take an exhilarating ride on one of the most spectacular rail journeys in the world, the Hong Kong Peak Tram. The route opened in 1888, and this 'phantom ride' (a popular early film genre for which the camera was mounted on a moving vehicle) offers glimpses of the harbour and lower Hong Kong in the distance as you descend from 400 meters. But as a funicular railway, the most heartstopping moment is the sight of the upward tram arriving on what looks like a collision course...
Hong Kong movie
A film by director Fuqing Wang.
The conflicts between two generations, between the urban and the rural are intensively examined. When a grandfather and his grandchild experience loss concurrently, they realize the older generation’s protection of the ancestral land and the youth’s defense of the city are cut from the same cloth. Decades have passed, but the people of Hong Kong still do not have an answer for their rootlessness.
Twenty years ago, Habiba and Eric were neighbours. When Eric revisits her home to find her still living there with her husband, what seems like a friendly reunion turns into the gradual revelation of a painful secret from the past. An unflinching look at the consequences of abuse, Fundamentally Happy explores without judgment or condemnation critical issues such as trust, memory, relationships and consent.
The beautiful and skilled jewel thief Zhao Wenying (Lin Dai) is clever and resourceful, causing confusion for both the police officer and the wealthy heir Situ Dawei (Kelly Lai Chen), whom she steals from.
Fai, a ten-year-old boy who is a new immigrant from mainland China, he lives in a narrow suite with his mother and his step-father.
Siu, in her seventies, once again endures cruel and unreasonable threats and abuse from her son at home. Having endured it all her life, she determined to push the old sofa that should have been discarded long ago out of her home.
Shot below the radar, this film follows the journey of Chinese factory migrant worker-turned-activist Yi Yeting, who takes his fight against the global electronic industry from his hospital bed to the international stage.
Relationships with strangers can exist in all forms, including the most intimate ones. The two of them spy on each other in an open manner, slowly, their relationship deepens, while remaining strangers.