Yeung Yee-Yee

In 1980s Hong Kong, troubled youth Chan Lok-kwun, a mainland refugee, struggles to survive in the Kowloon Walled City by joining underground fights. Betrayed by crime boss Mr. Big while trying to buy a fake ID, he steals drugs from him and seeks refuge in the Walled City, where he encounters Cyclone, a compassionate yet authoritative crime lord.

When a former actor moves into an apartment building with the intention of commiting suicide, he is saved by a Taoist priest who used to specialize in hunting Chinese hopping vampires: or Jiāngshī. Elsewhere in the building, a woman turns to a specialist in black magic to bring her husband back to life.

After her father died, a Hong Kong girl discovers she has two hitherto unknown sisters, one in Taiwan and one in China. To settle her father's debt, she must reunite with them to run the family's hot pot restaurant.

The life story of a young man who has been pursuing an impossible love with his straight boyfriend and contemplating on the mortality of his loved ones.

Kei is the experienced leader of a team of pickpockets — also known as "Sparrows" in HK slang. He enjoys a carefree lifestyle taking photos. One day a dashing beauty, Chun-Lei, suddenly appears in Kei's viewfinder. Kei is mesmerized. But behind Chun-Lei's attractive facade lies a mysterious past and a mission to set herself free.

Manson Law, a celebrated stockbroker in Hong Kong, is injured in a car accident. The police, led by Inspector Jack Ho, discovers a military surveillance device in the car wreck. Meanwhile, the wiretapper Joe Szema is unveiling his extensive plan that targets the mysterious financial conglomerate, the Landlord Club. The fate of these three men soon intertwines in the cat-and-mouse game that may bring down the entire stock market.

In this classic whodunit, a police detective must rely on the only witness - a parrot, to catch the killer of an armed robber.

When a human head is discovered, the paths of a female student, a cellist, an autistic teenager, a police officer, a prostitute, a teacher and a dog are found to be serendipitously entwined. Who caused the death? What is the motive? Where is the body? Attempts to answer these questions lead to keywords starting with the letter "G". As the case is peeled back layer by layer, the complexity and desperation of the people living in Hong Kong today are slowly uncovered, and a suspenseful multifarious Hong Kong story is revealed.

Mrs. Ho, a senile and distraught widow, lives by herself in a walk-up building. For more than half a century, Mrs. Ho has been living in her flat since she was married. But, after an accident, her legs went lame. Her son keeps persuading her to sell the flat and move into a building with lifts. She refuses and she wants to hold onto the flat, her only contact with her dead husband, where they used to do tap-dance together. Of course, they weren’t Fred Astaire and Ginger Rogers but, the film makes touchingly clear, we need to listen to rhythm of their dance. More importantly, Mrs. Ho’s perseverance and strength recall the portrayal of another old woman – Ella Garth (Jo Van Fleet) in Elia Kazan’s masterpiece Wild River (1960).

Once famous for his quick blade, a retired assassin can no longer earn a living with his cut-throat skills. Summoned again, he partners with his chauffeur to carry out special missions – fullfilling the wishes of old people looking to kill themselves. When commissioned by a young girl who has been deserted by her parents and lover, the "Elderly's Angel" squad finds an arresting way to complete its task.

Her name’s Pong, Mrs. Pong. At first glance, she’s a meek, middle-aged woman, pleasantly plump and perfectly harmless. Yet as circumstances demand it, she’s not your ordinary mother, nor a long-suffering widow for that matter. Her missions? To pull her son out of peril while standing up to bullies and saving homes from being uprooted and demolished in the name of urban renewal. Mrs. Pong effortlessly transforms from an armchair survivalist to a fearless heroine hell-bent on her mission, trading punches and kicks for frying pans and woks, awakening a rebellious spirit that wars against exploitation and oppression in a system tilted towards the rich and powerful.

Choi used to leave voice message to Sze since she had a cell phone. He did it even more when Sze got a smart phone few years later. Years after, Choi was getting old. He needs to visit physiotherapist and underoccupied. One day when Choi is loading of the bamboo in a construction site earthquake happened in Hong Kong

Soaring property prices drive dwellers to take every insane effort necessary to secure a cramped space, even if it means sharing the same roof with the dead.

Three people in the flat with their own quirks, searching for the ways to understand and live with each other. Xiang's rebellion as ticking time bombs hidden in a hotel-like flat, as well as their relationships.

A Hong Kong hitman retires as a fisherman on the peaceful Grass Island. One day, his Chinese apprentice shows up and is tasked to kill him before the last ferry departs.

"Running is prohibited on the playground"—a primary school prefect trying to do her job but simultaneously reflects on the implementation and significance behind the rule.

Shan, a Hong Kong cosmetologist, learnt about the art of solitude during the lockdown period of pandemic. As the regulation of prohibition on group gathering was imposed in April 2020, Shan had to close down her small business and build a new daily routine.

It is always a lesson on communication between father and son, especially when they are having different points of view on life and death. Hung Fat raises up his son by running his coffin shop. However, his son Chun Wai is a doctor. They are detached to each other. Chun Wai does not understand why his father is so insisted to maintain the old shop. Until one day, Chun Wai inherits the coffin shop, then he understands the important of the shop to the neighbourhood. No matter how the society and environment changes, the meaning of life and death is the eternal lesson which we all have to understand.

At the first glance, a crayon drawing appears the very portrait of a happy family, but a closer examination reveals that something is amiss. Lam Tsi-hei is the eldest son of a family that stares darts and hurls verbal abuse at each other, complete with sibling antagonism and resentment bred by thoughts and feelings left unexpressed. Directly a film on a subject fiercely personal and close to his heart, Tsi-hei digs up a crayon drawing from his boyhood. While cherishing the memories of an affectionate bond that skips a generation, he realises he must go hat-in-hand and repair his relationship with his estranged family.

Seated in the front row of a funeral hall are a boy and a teenager, the picture of the deceased yet to be placed. A florist, Tung (Ai Wai), is consumed by grief but puts on a front for others. The boy drops by at the florist and orders a custom floral arrangement - a teddy bear-shaped wreath with his favourite yellow flowers — to be readied in three days' time and paid with money saved up in his piggy bank. Tung forges an unlikely friendship with his young customer, an encounter that releases bottled-up emotions so that healing process can begin.