Zhang Tielin

Wong Fei-Hung faces the White Lotus Society, a fanatical cult seeking to drive the Europeans out of China through violence, even attacking Chinese who follow Western ways. Wong must also defend revolutionary Dr. Sun Yat Sen from the military.

After the authorities flee China with public funds, Wong Fei-Hung battles pirates and corrupt officials to help the government restore peace.

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Dramatization of events from the Second Opium War which culminated in the looting and destruction of imperial estate "Yuan Ming Yuan", AKA the Old Summer Palace by invading English and French troops.

On his way to a congress of kung fu masters, an initiate falls from a high cliff, only to be rescued by lovely Tien Lam (Anita Mui), who rides a huge crane. The rest of the movie features a battle between warring martial arts factions, an equally fierce rivalry between the two daughters of the Crane Master, the accidental empowerment of an unprincipled master after having eaten half of a secret scroll, a battle with an immense tortoise whose spleeny vapors save a group of poisoned swordsmen, lots of great aerial fights against nearly invincible villains, and the usual blood spurting from assorted mouths.

Top actor Zheng Zhi (Shin) and Nina (Gillian Chung) are starring together in a movie about a poor man romancing a rich girl. Filming isn't going so smoothly, however, as director Mandy (Li Xiaoran) keeps picking apart Zheng Zhi's acting. It turns out that Mandy and Zheng Zhi are actually former lovers, and the movie's plot is their own story. Meanwhile, Chuan Zi (Yu Shaoqun) joined the production as an extra in hopes of reuniting with Nina, whom he believes is his childhood sweetheart. Nina, however, already has a rich and handsome boyfriend.

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.

This simple romance story does not mean much to westerners, and in fact, does not even mean anything to Chinese today, but it was a big thing when it was made, not long after the end of Cultural Revolution in which even the personal romance was restricted. This movie is one of the pioneers of personal liberalization in advocating people seeking out their love following their own hearts, not from other people.

This is a story of a scientist who made important contributions to the missile and space programs of both the United States and People's Republic of China.

During their school days, Yanling and Lishuang are lovers. However, Yanling's father, who is the director of the Education Bureau, feels that Lishuang is not worthy of becoming his son-in-law. To separate the lovers the father sends Yanling to be a teacher in a island. There Yanling meets Shuijian, also a teacher there. At the same time, Lishuang had already engaged with Ding Langmei, a childhood sweetheart in her hometown. After realizing her father is not the respected figure she once though, Yanling decides to stay on the island to teach.

At the age of 25, Qinghe returns from Shenzhen to her hometown, which has taken on a new look, prompting her to start a business. During the days spent with her grandmother in the countryside, Qinghe recalls what happened in the old house. She remembers her father, who died early, forgives her mother, who remarried, and finds comfort in her two friends.

Follows the Battle against the Qing Dynasty and its Manchu ruler Chen Long, the opposition being a Han lead organization called 'The Red Flower Society' which is trying to return the country to its rightful owners - The Han Chinese. Edited down from the TV series of the same name.

Hong Kong movie

The stories of a newly retired editor and the antique chair he purchased.

It charts the experiences of a young Chinese painter who comes to London soon after the Beijing massacre and decides to stay. His initial difficulties in adjusting and the misunderstandings are sketched succinctly, but the meat of the film is the account of the boy's psychological blocks: his determination to go it alone, and his almost pathological inability to accept help and affection. In other words, not the usual anecdotal guff, but an intense and demanding study of the 'inner wounds' that afflict so many Chinese from the PRC.