The fifth episode of Patrick Tam’s anthology series “Seven Women” (1976), which was the only episode not directed by Patrick Tam but by renowned critic Law Kar

The fifth episode of Patrick Tam’s anthology series “Seven Women” (1976), which was the only episode not directed by Patrick Tam but by renowned critic Law Kar

The story focus on Caridad and Georgina, who had learned the art of Cantonese Opera in Havana as a young age and performed as divas for over a decade before their lives were changed by Fidel Castro's revolution.

Four episodes combined. Dawn: the first cop goes to interrogate the parents of a babygirl who got burnt by an iron. These, eventually admit to be the one responsible but they state it was an accident. Going back on a bus, he reads a newspaper article reporting another case of violence against minors. Noon: the moustached cop cop collects the report of a mother regarding the presence of perverts in her building. A thirteen-year-old girl is spotted with a man in equivocal acts: when she is interrogated she shows no signs of anxiety. Dusk: in a nursing home a guest kills another old man with an axe. He is interrogated by the older cop who, once back home, talks with his wife and daughter while watching sadly TV. Night: the fourth cop is in a disco when he gets the call that a collegue’s wife was the victim of a hit and run. The following morning he goes back to the office.

One episode of Ann Hui and Yim Ho’s “CID” series based on real murder incidents in Hong Kong

One episode of Ann Hui and Yim Ho “CID” Series (1976), which won one of the very first awards for Hong Kong in an international television competition.

The film traces the life and times of Esther Eng, a San Francisco native known as Hong Kong’s first “directress.” She directed 10 Cantonese talkies.

Crossings: John Woo starts with Woo's emotional homecoming to Hong Kong in 2004 to promote his latest blockbuster Paycheck. It leads you through his teen years where he made avant garde films, his apprenticeship with Shaw Brothers' martial arts director Chang Che, his coming of age as a director directing slapstick Hong Kong comedies through the 70s and 80s. It charts the genesis of the groundbreaking A Better Tomorrow starring Chow Yun Fat, a film that creates a new genre in Hong Kong cinema and launches Woo's career into the international arena.

In the life of Mr. Lai Man-wai, he had seen the most turbulent times of recent Chinese history. From the fall of the Qing Dynasty to the founding of the Republic, from the Sino-Japanese War to the founding of the People’s Republic. With a patriotic spirit, he joined the revolution and used the theatre to promote the revolutionary course. For a ‘stronger China’, and ‘education for all’, he chose film as his life long goal and career. Lai was more than the father of Hong Kong cinema was; he was also one of the pioneers of the Chinese cinema. He made Hong Kong’s first short fiction film ‘Zhuangzi Tests His Wife’. He opened the first Chinese owned cinema, the New World Cinema, in Hong Kong…. In the several decades, Lai had devoted his life and fortune in writing this glorious inaugural chapter in early Chinese film history. The technical enhancement, the introduction of foreign techniques and equipment were all part of his contribution to the Chinese cinema.

In the life of Mr. Lai Man-wai, he had seen the most turbulent times of recent Chinese history. From the fall of the Qing Dynasty to the founding of the Republic, from the Sino-Japanese War to the founding of the People’s Republic. With a patriotic spirit, he joined the revolution and used the theatre to promote the revolutionary course. For a ‘stronger China’, and ‘education for all’, he chose film as his life long goal and career. Lai was more than the father of Hong Kong cinema was; he was also one of the pioneers of the Chinese cinema. He made Hong Kong’s first short fiction film ‘Zhuangzi Tests His Wife’. He opened the first Chinese owned cinema, the New World Cinema, in Hong Kong…. In the several decades, Lai had devoted his life and fortune in writing this glorious inaugural chapter in early Chinese film history. The technical enhancement, the introduction of foreign techniques and equipment were all part of his contribution to the Chinese cinema.