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.

Documentary about Chinese film director King Hu.

In Chengdu, China, a retired female opera singer named Master Chang takes in a trio of young tenants into her boarding home. The tenants include a rock singer and a college student who has run away from home.

A Japanese girl (Kato Youki) is on a three month visit in Taiwan after breaking up with her boyfriend to study Chinese at a language center. One day she has a brief affair with Wu and later he requests her to sign a contract to be his girlfriend for 90 days and she agrees. One of the condition of the contract is they must get separated after 90 days. However, after getting know each other quite well, both find that the relationship seems to be true love and both are unwilling to break the contract agreement as the dateline approaches. What is the outcome of their love story in the end?

A delivery Boy falls for a young girl who is hearing impaired. Comparing themselves with water birds and trees, together they are going to break the barrier and pursuit their dreams and take their relationship to the next level.

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.

Kerou Meng é uma estudante colegial de 17 anos. Como outras garotas de sua idade, ela está em busca de si mesma. Um pouco sonhadora, ainda lhe falta autoconfiança e ela sente saudades do estado de negligência e liberdade típico da infância. Shihao Zhang é um garoto bonito e sedutor, com um quê de rebeldia no sangue. Ele é o preferido entre as garotas. Yuezhen Lin, a melhor amiga de Kerou, sente ciúmes e raiva dela. Shihao, apesar de estar mais interessado em ganhar o campeonato de natação da escola, sente-se muito atraído pelas maneiras misteriosas de Kerou e deseja conquistá-la. Um dia, de repente, Kerou aparece no meio de um treino de Shihao e abre seu coração. O que ela lhe diz vai mexer profundamente com seus sentimentos. Juntos, os dois adolescentes vão ter o primeiro vislumbre dos dissabores do mundo adulto.

Guei, 16 anos, chega da província a Pequim e encontra trabalho como paquete. Dão-lhe roupa e emprestam uma bicicleta. Quando já a tem quase paga, a bicicleta é roubada perto de um edifício onde tinha ido entregar uma encomenda. Sem bicicleta, Guei fica sem trabalho. Desesperado, corre Pequim à procura dela. Quase por milagre, o seu melhor amigo diz-lhe que a viu na posse de Jian, um estudante que a comprou na feira da ladra. A bicicleta pertence agora aos dois. É preciso aprender a partilhá-la...

Guei, 16 anos, chega da província a Pequim e encontra trabalho como paquete. Dão-lhe roupa e emprestam uma bicicleta. Quando já a tem quase paga, a bicicleta é roubada perto de um edifício onde tinha ido entregar uma encomenda. Sem bicicleta, Guei fica sem trabalho. Desesperado, corre Pequim à procura dela. Quase por milagre, o seu melhor amigo diz-lhe que a viu na posse de Jian, um estudante que a comprou na feira da ladra. A bicicleta pertence agora aos dois. É preciso aprender a partilhá-la...

A cute coed leaves her mother's home and gets involved with a pastry chef who has links to the local criminal element.

Falta pouco para a chegada do ano 2000 e uma epidemia ataca Taipei, mas os moradores ignoram a ordem de evacuação e permanecem em suas casas. A moradora de um apartamento chama um encanador para investigar um vazamento de água incontrolável que atinge sua casa, vindo do apartamento de cima; o encanador abre um buraco no piso do apartamento superior e promete voltar em seguida, mas não retorna. O buraco acaba criando uma "porta" de ligação entre os dois moradores.

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.

1997 documentary, part of the Taiwan-produced series "Personal Memoir of Hong Kong", is both a self-portrait and a depiction of Hong Kong during the 40 years preceding the handover by the United Kingdom to China.

Stanley Kwan's view in this film is both personal and collective memories towards Hong Kong in 1997. He cites one famous line from Cantonese opera 'Princess Chang Ping', 'I deny, I deny, but in the end I cannot deny' as a metaphor for Hong Kongers' troubled minds when they have to recognize their identity as Chinese. To make a statement of the theme, Kwan adopts a complicated structure, mixing excerpts from his previous films, his stage play, even the soundtrack of Wong Kar-wai's Days of Being Wild.

Cinebiografia da atriz chinesa dos anos 1930, Ruan Ling Yu.

This film is a record of the first Yamagata International Documentary Film Festival. It reflects the various ways the festival was given shape by nascent global changes embodied by Perestroika, the Tiananmen Square massacre, and many other contemporaneous events.