Baober in Love

After laying bare backward village mentalities in Bloody Morning, Li Shaohong turns her attention to China’s urban middle class. Cao is a photographer, married to an opera singer and with an infant son, caught in the usual professional morass of political compromise. His life starts to fall apart when he learns that his ex-wife also bore him a son some months after their divorce – and when the boy turns up looking for his father. Nothing wildly dramatic, just believable people in believable situations. If the ending seems a touch forced, this is nevertheless a sign that ‘Fifth Generation’ cinema is changing and coming to terms with up-to-date realities.

When Yan'ni starts college she believes she is embarking on a new life away from her family-and she is, but not the new beginning she anticipates. Once at school, she immediately meets Muyu and falls in love with him. What she does not know is that from the moment he met her Muyu began an intricate deception that will lead to the loss of her child and t-he future she believes in.

Based on real life events, the film is set in January 1949 and focuses around a group of soldiers involved in the final stages of the Battle of Pingjin

A story of four women set amidst the Macanese gambling industry.

Palace of Desire, also known as Da Ming Gong Ci, is a Chinese television series based on the life story of Princess Taiping, a daughter of China's only female emperor Wu Zetian. Directed by Li Shaohong and Zeng Nianping, the series starred Chen Hong, Zhou Xun, Gui Yalei and Winston Chao in the leading roles. It was first broadcast on CCTV-8 in mainland China on March 30, 2000.

Freely adapted from Gabriel García Márquez's Chronicle of a Death Foretold, the film follows the investigation of a local teacher's murder in a small and desperately poor rural village, the story of the crime gradually pieced together from the fragmented memories of witnesses forced to testify at an inquest. Sharing with her Fifth Generation colleagues Chen Kaige and Tian Zhuangzhuang a remarkable eye for the barren landscapes of northern China and a fascination with small-town life — especially those enduring superstitions that Communism failed to erase — director Li Shaohong also introduces several formal innovations, particularly in storytelling structure, that remain unprecedented in Chinese cinema.

The film charts the fortunes of two women who loved each other as sisters, but whose paths diverge when the Revolution brings an end to their old way of life in the brothel.

1998 film