
Acting
Carol Cheng Yu-Ling (Chinese: 鄭裕玲) is a Hong Kong actress. She began her career in the 1970s working on a number of Television Broadcasts Limited series. She has also hosted the Hong Kong version of the game show The Weakest Link. In 1983, she made her debut along with Chow Yun-fat, with whom she would later become romantically involved. After her film debut her output became so prolific that at one point she was working on nine films simultaneously, leading her to have the nickname "Nine films Cheng." It was also during this very prolific time in her career that she became the highest paid actress in the region, beating out Maggie Cheung, Anita Mui and Michelle Yeoh, who rounded up the top 5. In 2000, after not appearing on screen for 6 years, she returned to television with a critically acclaimed performance in the sitcom, "War of Genders". It immediately become the highest rated show for the network, TVB and garnered Cheng a Best Actress trophy at the annual awards. She is the highest-paid female employee of TVB. ... taken from Wikipedia, credits to the original author.

Hired by a Spanish baron, Hong Kong treasure hunter Jackie, a.k.a. "Asian Hawk" and his entourage seek WWII Nazi gold buried in the Sahara Desert.

Developer Tsang Siu Chi and his agent have bought two of a group of four properties. Rival developer Boss Hung has secured the other two. Both aim to buy all four so they can knock them down and build hotels.

Three oddball brothers go looking for love but unfortunately, their out-there personalities get in the way!

Something fishy is going on in the anti-Drug Trafficking Unit of the HK Police, and only a few honest cops know that the corruption goes all the way to the top. However, they must prove their case quickly, and by unconventional means, after they are framed for murder and drug-trafficking themselves. Dodging bullets from cops and criminals alike, the race is on to clear their names, protect their loved ones, and bring their corrupt colleagues to justice.

An ex-cop and divorce lawyer team up with a gangster to clear their names after getting involved in a dirty money scheme led by a vicious money launderer, who plans to expand his business and wipe out anyone who stands in his way.

Cheng Shih-Nan is a Mainland inspector who journeys to Hong Kong with her assistant and cousin Hsiou Sheng to deliver a ruthless criminal. But the bad guy escapes, meaning Shih-Nan and Hsiou Sheng are now stuck in capitalist Hong Kong for an extended stay! A flag-waving supporter of the Communist Party, Shih-Nan marvels at the “decadent” lifestyle of her Hong Kong counterpart, Inspector Wu Kei Kuo. But despite the culture clash, the two disparate cops find the common ground they need to dispense justice – and even discover something akin to romance! But will the Party approve?

A firefighter salvages a spiritual shrine from an old burning building, which releases the gentle ghost of a Chinese opera singer, killed in a stage fire 30 years before. Grateful for saving her, the ghost falls for the firefighter and will stop at nothing to ensure his safety from the evils that lurk ahead. At the same time, the firefighter doesn't realize he is dating a ghost.

A lonely Chinese woman in Paris starts an affair with an womanizer musician.
The Story of Ah King could be summarised in four words, "meeting the wrong guy", but Joyce has created a most poignant episode, one that has dialogue peppered with lively slang. Ah King (Louise Lee), who tries hard to break off from her jammed public housing life, gets married, only ending up in another abusive relationship. Given her circumstances, Ah King really doesn't have much choices. Both episodes feature superb scripts and stunning performances.
In “A Man”, Police Inspector Shek reports his corrupt colleagues, but it is his own integrity which comes under investigation, Joyce's implication that being honest to oneself can extract a high price. Also characteristic of her ICAC scripts is that they're non-judgmental and the protagonists have distinct personalities. Unfortunately, it was banned by the authorities until its initial release at the Hong Kong International Film Festival in 1999.

