Producer
Carol 'Do Do' Cheng portrays the tough, eventful life of "Mama Boss" from childhood in pre-1949 Guilin to disillusionment in 1970s Taipei, where she struggles to run a noodle shop and contend with a host of colourful customers.
Writer
Carol 'Do Do' Cheng portrays the tough, eventful life of "Mama Boss" from childhood in pre-1949 Guilin to disillusionment in 1970s Taipei, where she struggles to run a noodle shop and contend with a host of colourful customers.
Director
Carol 'Do Do' Cheng portrays the tough, eventful life of "Mama Boss" from childhood in pre-1949 Guilin to disillusionment in 1970s Taipei, where she struggles to run a noodle shop and contend with a host of colourful customers.
Himself
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.
Director
To celebrate his newborn baby girl, an old wine brewer made a bottle of Maiden Rose for her future marriage. Eighteen years later, the girl was already a beautiful woman and fall in love with a youngster. However, her father was unhappy with their romance, though she had been pregnant. Fifty years passed by, three women of three generations finally had a chance to drink that bottle of Maiden Rose.
