Fung Keung
Homicide detective Seven and his new love Fiona are haunted by a group of venomous ghosts. He enlists the help of Bing, the police force's unofficial expert on the supernatural. A full-blown war ensues between the living and the dead.
Fanny is a skilled mahjong player and young housewife, who's usually forbidden from her tile-clicking addiction by husband Johnny. However, when Johnny falls in with gambler Demon, Fanny gets sent packing. Johnny takes up with Demon's sister Curvy, and Fanny is left alone and seems to lose her mahjong-playing skills. Luckily, she receives additional training from her mahjong mentor Three Tiles, who also schooled Auntie Fei, as well as sexy player-in-training First Love. With the aid of her mahjong sisters, brother, plus Auntie Fei's husband Chi Mo Sai, Fanny regroups in time to take on Curvy, Demon, and Johnny at a climactic mahjong tournament.
Comedy of Mismatches begins with widow Sun who single-handedly raises her son Yu Lang (Chin Feng) and daughter Zhu Yi (Li Hsiang Chun). One day, Mother Sun sends her children to the temple, where Yu Lang encounters Hui Niang (Pat Ting). Artist Xu Ya is also at the temple, praying that his daughter Wen Gu (Carrie Ku) will find a good husband. Soon after, Wen Gu encounters nobleman's son Pei Zheng (Wai Mao) and the two fall in love at first sight.
In this dreamy romance set in China during the fourth-century, a young woman convinces her parents to allow her to dress as a boy and attend university.
Famous dancer and film actress Fong Nan (Mao Mei) desires both a career and a family after marrying an eminent doctor (Kwan Shan), who, however, wants her to be a stay-at-home wife. They are on the brink of divorce when he finds out she secretly rehearses for her dance and movie…Taking inspirations from Hollywood musical films, the movie is beautifully directed and meticulously produced by Yuen Yang-an and his Sun Sun Film Enterprises. While most films at the time usually depict how grassroots people rise above adversity, this one tells the story of a famed actress who thrives for success and never gives up on her artistic ambition. This reflects that women's liberation and employment was a dominating theme in left-wing movies. The finale was shot in Eastman colour negative film, which was rare before mid-60s given the limited technical resources in Hong Kong film industry, and thus a valuable record in the city's cinematic history.
