Its final scene, involving a cleaver and a pregnant woman, is as ridiculously gory as it is surreal. The quests for better living of two Mainland migrants – a Chinese opera performer working temporarily as a prostitute (Qin) and a young daughter overstaying her visa (Mak) – become intertwined through the stinky, exotic fruit in this gently observed effort, the first title in Chan’s unfinished ‘Prostitute Trilogy’. Dir Wong Kar-wai (Leslie Cheung, Maggie Cheung, Andy Lau, Carina Lau, Jacky Cheung, Tony Leung Chiu-wai), “I used to think there was a kind of bird that, once born, would keep flying until death. This isn't a perfect film but its story is so moving that any shortcomings in the telling can easily be overlooked. Taken at face value, as we like to do, the film is a last-gasp portrayal of those heroic archetypes late 80s and early 90s Hong Kong cinema became famous for – and we love it for it. A supernatural game-changer that started a franchise and set the rules for all things jiang shi, Lau’s uproarious horror comedy popularised the mythology of Chinese hopping vampires (commonly said to be corpses reanimated out of indignation) – if not also sticky rice, the most hated item of the undead.

Realism could be one excuse for Zhou Yi's portrayal, but Ex isn't some dark exploration of relationships, nor is it a subversive look at how people mess with their significant others. The ups and downs of a Hong Kong family and their shoe shop as seen through the eyes of their eccentric eight-year-old son. A timeless work of art from a short-lived genre, this definitive huangmei diao film was a box office sensation and a cultural phenomenon across Southeast Asia (and especially in Taiwan), with Ling receiving a special award for outstanding performance at Taiwan’s Golden Horse Awards – because the judges couldn’t decide whether to name her best actor or actress! The favourite romance of many a Hongkonger, not least Mr Chow himself, this Alex Law-scripted drama is essentially a story of two lonely souls: a Hong Kong student (Chung) who moves to New York for her fickle boyfriend (Chan), and her older but no less puerile cousin (Chow), who settles her down before cheering her up with such sophisticated fares as, eh, going to Broadway musicals. a disabled man being cared for by a Filipino domestic worker. Dir Liu Chia-liang (Gordon Liu, Alexander Fu Sheng, Kara Hui), “Here we practise the poles.

Dir Pang Ho-cheung (Shawn Yu, Miriam Yeung), “We don’t need to do everything in one night.”. As their popularity snowballed from the early days of television broadcast, the iconic Hui Brothers team left behind a trail of vernacular comedy movies that struck a resounding chord with working class audiences. Having always hated each other, a middle-aged working housewife (Siao in a multiple-award-winning role, including the best actress honour at the Berlin Film Festival) finds herself quickly becoming the caretaker of her father-in-law (Chiao), a former air force lieutenant who’s losing his mind to Alzheimer’s. (2005), Dragon Tiger Gate (2006) and Flash Point (2007), the Yip-Yen combo reaches its zenith with this engrossing martial arts biopic on the titular Wing Chun legend. “Dawn, please don’t come…” As Sally Yeh pleads soulfully to James Wong’s iconic tune on the soundtrack, the forbidden love between Cheung’s scholarly tax collector and Wang’s glamorous ghost meets its heartbreaking demise. People are so ugly.”. There’s double handguns, male bonding (to the detriment of relationships with women), honour, betrayal, bullets flying everywhere and inevitable bittersweet deaths. Despite being hugely popular with local audiences, the movie was swiftly pulled from local cinemas – supposedly after pressure from Beijing. Dir Peter Chan (Leon Lai, Maggie Cheung, Eric Tsang), “My aunt said, people will think you’re a Mainlander if they know you’re a fan of Teresa Teng.”. An Amorous Woman of Tang Dynasty 唐朝豪放女 (1984), 76. Led by a highly sought-after criminal intending to pull off a heist at a Tsim Sha Tsui jewellery store, the infamously violent Big Circle gang – while finding their loyalty increasingly split by the allures of the city – soon become the hottest target of the police force after being tricked by a small-time triad boss and sometime informant into murdering a corrupt cop. A fresh-faced policeman (Chan) assigned to infiltrate the triads sinks into a downward spiral of violence in this early New Wave gem. Stolen Life 生死劫 (Sheng si jie) [2005] • China. “More importantly, he’s one of the rare examples [among actors] – and I don’t know what happened in his childhood – in that he always seems very fragile and insecure and deprived. Have you ever seen bad guys wear white?”. “It’s more than a standard martial arts film; it is Shakespeare meets Sergio Leone in Chinese language.”, Dir Johnnie To (Anthony Wong Chau-sang, Francis Ng, Jackie Lui, Roy Cheung, Lam Suet), “If we wanted to stand here all day, we might as well become hookers.”. The Secret (Si j'etais toi) If I Were You (2007) • France, One Day (You yi tian) [2010] aka As I Walked Out One Evening • Taiwan, Cafe Isobe 純喫茶磯辺 (Jun kissa Isobe) [2008] • Japan. The story, cursory as it is, involves a profligate Manchu prince (Gordon Liu) travelling incognito who brushes off assassins sent by his brother with the help of the titular petty thug (Wong), who’s forced to apprentice himself to obtain an antidote for the poisonous wound on his head. The maverick director’s career-long schizophrenic sensibilities originated here: a breathtaking debut which encompasses everything from a wuxia writer-turned-detective as narrator, a medieval castle as the site of its locked room murder mystery, and millions of butterflies as its terrorisers. Dir Jackie Chan (Jackie Chan, Brigitte Lin, Maggie Cheung), “There’re four witnesses last year who said the same thing as you. Stephanie must choose if she is ready for the consequences of her misbehavior. That's not such a big deal for Ping, since the film is decidedly told from Zhou Yi's perspective - and if the ex-boyfriend is shown to be a self-serving screw-up, that's just fine. After S.P.L. With Zhou Yi hanging around, it becomes obvious that the two exes are not done with one another, their shared history bubbling to the surface with every recalled memory or sidelong glance that occurs over the ensuing days. Dir Ang Lee (Chow Yun-fat, Michelle Yeoh, Zhang Ziyi, Chang Chen), “The jianghu underworld is filled with crouching tigers and hidden dragons, but so are human feelings.”. Directed by Heiward Mak. Described in our recent five-star review as being ‘gently humorous, intensely moving but never outwardly sentimental’, this graceful based-on-true-events drama observes the dignity of the final years in the life of Sister Tao (Ip, named best actress at Venice), now in the care of the middle-aged son (Lau) of a family for which she has been a housemaid most of her life. His cockiness is exceeded only by his loyalty and heroism; in our approving minds, Mark is us. He gets your sympathy.”, Dir Wong Kar-wai (Takeshi Kaneshiro, Brigitte Lin, Faye Wong, Tony Leung Chiu-wai), “At the closest point of our intimacy, we were just 0.001 cm from each other.”. Based on a Pu Songling short story that has also been adapted into Li Han-hsiang’s The Enchanting Shadow (1960) and Wilson Yip’s eponymous 2011 film, this Tsui Hark-produced supernatural action fantasy spawned two hit sequels and remains a vital showcase of our cinema’s madcap inventiveness. Frenetically paced throughout, the backstage comedy cum espionage thriller provides a hugely exhilarating spin on the political chaos of 1910s China. “To separate ourselves from the previous adaptations, we put the original novel aside and went ahead to invent our own vision,” says Wong. * Did you know… … that Boat People was originally selected in competition at Cannes Film Festival? Before the iconic director moved to Taiwan and shot Dragon Gate Inn (1967) and A Touch of Zen (1971) – indisputably two of the greatest martial arts films ever made – Hu refined the genre with this deliberately-paced quest for justice by Cheng’s female knight Golden Swallow and Yueh’s heroic swordsman Drunken Cat. Dir Stephen Chow (Stephen Chow, Zhao Wei, Ng Man-tat), “You better go back to Mars fast. Nuanced acting, an obsession with period detail and the rare opportunity to shoot at Beijing’s Forbidden City lends this sequel to The Burning of the Imperial Palace (1983) an authenticity seldom witnessed in Qing dynasty palace films. Marriage seems to be on everyone’s mind in this Cathay Studios rom-com, which casts an affecting gaze on sisterhood – here charmingly embodied by four great beauties of Mandarin cinema. Chang made her star turn in this Mandarin musical about a talented singer-dancer who, while showered with affection by her family and classmates, discovers on her 20th birthday that she’s an adopted orphan. Dir Patrick Tam (Aaron Kwok, Ng King-to, Charlie Young). Try another? Hitchcock would have smiled with envy. Taken at face value, as we like to do, the film is a last-gasp portrayal of those heroic archetypes late 80s and early 90s Hong Kong cinema became famous for – and we love it for it. The catch? McDull, Prince de la Bun 麥兜.菠蘿油王子 (2004), 45. With all the memories squeezed into two hours, real or not, it's very predictable. Together with the funky soundtrack by Sam and his band, The Lotus, the movie also tapped into our collective consciousness with a range of riotous gags, from aerobics for chicken to a Sammo Hung-choreographed, Bruce Lee-inspired fight scene with flour and sausages. Set entirely within a hospital building, the director examines the pressures building on three principal characters – a doctor (Vicki Zhao) buckling beneath stress following a botched surgery; a detective (Louis Koo) desperate to bring a criminal to justice; and said villain (Wallace Chung) betting his health against his freedom – and their responses.
Dir Gordon Chan, Dante Lam (Anthony Wong Chau-sang, Michael Wong), “Sometimes I feel there’s a barrier between us. That the low-budget retro action comedy was named best picture at the Hong Kong Film Awards reveals as much about our cinema’s current nostalgic wave as it does a gradual changing of the guard.
Lee’s erotic espionage thriller caused a row when government censors ordered seven minutes of sex scenes to be cut because of explicit naked shots of actors and actresses. Eventually, Lee will leap into the air and kick towards the colonial oppressors while being fired at with pistols, turning himself into a nationalistic martyr with the most iconic of final freeze-frames. “I put Wong against the backdrop of [his secondary school], which symbolises the elite education and middle class culture,” says Cheung, “but I wasn’t interested in Wong’s subsequent education in the US, so the filming stopped at that point.”, Dir Derek Yee, Lo Chi-leung (Leslie Cheung, Shu Qi, Karen Mok), “Nobody asked you to be Wong Kar-wai! His struggle is largely unspoken – and it’s all unspeakably sad. Chan establishes his brand of martial arts slapstick in the only way he knows how: by turning the often straight-faced and always disciplined folk hero of Wong Fei-hung into a clownish trouble-maker.

While To and Wai’s long-time collaboration had produced its fair shares of major hits (Fulltime Killer, Running on Karma), few could have anticipated the meticulous plotting of this psychodrama packaged as a crime thriller. Or maybe they'll just get it on for some quick-and-guilty sex-with-the-ex. 92 The Legendary la Rose Noire 黑玫瑰對黑玫瑰 (1992), 58. Déjà vu! Watch online and Download free Break Up Club 2010 - English subtitles - IcDrama Hong Kong Movie 2010. * Did you know…… why The Departed was so hugely acclaimed? The movie with which Wong Kar-wai became an auteur, Leslie Cheung became James Dean reincarnated and many of the unsuspecting mainstream audiences became bored out of their minds, Days of Being Wild is, above all, a hymn to rebellion: an intention noticeable from both Wong’s deliberate ditching of the conventional genre formula, as well as the fact that his film shares its Chinese title with Nicholas Ray’s masterpiece Rebel Without a Cause (1955) – apparently with a cause.

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