Peggy Chiao
A lowly brothel maid captures the attention of Shanghai triad leaders, pulling her into a brutal war where she learns to rise above the odds in order to survive.
In 2013, the Golden Horse Film Festival celebrated its 50th anniversary. The ministry of Culture commissioned director Yang Li-chou to make a documentary about the history of Golden Horse. What is unique to this film is that it's not an ode to celebrities but about the role cinema plays in ordinary people's lives. It's a love letter to cinema, filmmakers and audiences.
He Man awakes from a coma thinking that she’s still on her honeymoon with her husband Xie Yu, but she gets a rude shock: there’s a five-year gap in her memory, and during that time the couple has divorced. Confused and desperate to figure out how their marriage crumbled, He Man seeks out her ex-husband and her ex-best-friend for answers.
Ding Bo (Chen Po Lin) and his friends Nan Feng (Fan Bingbing) and Fei Zao aka Fatso (Fei Long) are a trio of 20-something outsiders who have no intention of sitting exams and getting into universities. When they need a new home, they answer an ad placed by lonely, retired Chinese opera singer Chang Yue Qin (Sylvia Chang), who is mourning the death of her son, and move into her sprawling Chengdu apartment. Right off the bat, the four clash over lifestyle and values, with the bratty trio seeing fit to steal from her and invade her privacy. However, slowly but surely a bond among them develops and everyone eventually learns something from the next.
In 1899, Lord Kang must decide which of his three sons will take over his family's Chinese banking empire. When circumstances dictate that he appoint his unreliable youngest son, family bonds are pushed to the limit as father and son clash in a climate of political turmoil. Winner of the Special Jury Award at the 2009 Shanghai International Film Festival.
Chen Chuan (Francis Ng) is a simple man who seems to be cursed with bad luck all the time. Convinced by a blind fortune teller that he must eliminate the "villain" that is bringing him the ills, Chen vows to kill the person responsible for his misfortunes. But he soon has second thoughts when he suspect that the "villain" is none other than his own wife.
An is-she-or-isn't-she gay comedy focused on a Taiwanese teen, the boy she might like, and the girl she may love.
A seventeen-year-old country boy working in Beijing as a courier has his bicycle stolen, and finds it with a schoolboy his age.
In the final days of the year 1999, almost everyone in Taiwan has died from a strange plague that ravished the island. Supposedly spread by cockroaches, the disease sends its victims into a psychosis where they act like the insects and eventually die. The two protagonists live In a crumbling apartment building right above and below each other. The woman is on the lower floor, and the pipes above her apartment are leaking fiercely, threatening to destroy her food supply, not to mention her sanity. She calls a plumber to go check it out, and he accidentally pokes a hole through the floor of the man's apartment. The two have never met before, and they come into contact through the hole.
This highly personal film essay demonstrates that Chinese cinema has dealt with questions of gender and sexuality more frankly and provocatively than any other national cinema. Yang ± Yin examines male bonding and phallic imagery in the swordplay and kung fu movies of the '60s and '70s; homosexuality; same-sex bonding and physical intimacy; the continuing emphasis on women's grievances in melodramas; and the phenomenon of Yam Kim-Fai, a Hong Kong actress who spent her life portraying men on and off the screen.
The film is based on a true story: the tragic life of China's first prima donna of the silver screen, Ruan Lingyu. This movie chronicles her rise to fame as a movie actress in Shanghai during the 1930s. Actress Maggie Cheung portrayed Ruan in this movie. Nicknamed the "Chinese Garbo," Ruan Lingyu began her acting career when she was 16 years old and committed suicide at age 24. The film alternates between present scenes (production talks between director Kwan, Cheung, and co-star Carina Lau, interviews of witnesses who knew Ruan), re-creation scenes with Cheung (as Ruan, acting inside this movie), and extracts from Ruan's original films including her final two films The Goddess and New Women.
