It is the late 1920s when six-year-old Yingzi and her family move to Beijing. As Yingzi explores the busy streets and alleys, she befriends a widow who, driven mad by grief, stands vigil at the entrance of her hutong, waiting for her missing daughter to return.

On a cold night, psychology student Liu Kai took Jing Huan, a paranoid schizophrenia patient, to a mysterious frozen lake she had often dreamed of. The lake reflected an “8” shape, causing Jing Huan’s expression to change, unsettling Liu Kai. During an internship at a psychiatric hospital, Liu Kai’s classmate Xie Ni, who was in a relationship with him, became interested in Jing Huan, a former factory cashier who developed mental illness after embezzling funds. Xie Ni wanted to study Jing Huan’s condition for a thesis and asked Liu Kai to help her, even arranging for Jing Huan to stay at her home.

After Women’s Story, Peng returns to the most straightforward representation of women’s issues in Shanghai Women, a film about three rural women. As the first work in Peng’s Shanghai Trilogy, Shanghai Women describes the problem that women encounter trying to secure urban (residential) space through the story of women from three generations.

The film follows the rise and fall of a family in Shanghai. Once wealthy and capitalist, the family unraveled during the Cultural Revolution in the 1960s and 1970s. Their home, once a French concession mansion, was converted into a multi-family dwelling.

A music student and a pilot fall in love.

Recounts the experiences and deep feelings of two revolutionary predecessors, Li Fuchun and Cai Chang, for half a century, and eulogizes the older generation of proletarian revolutionaries.

On his way to Mecca for his pilgrimage, a young Orphan goes to Beijing, where is starts to learn about the art of jade crafting.

Conflict arises between generations in this Chinese film