Ng Kam Chuen

Hung, a 40-year-old security guard of a commercial building, lives in a cramped sub-divided flat with his wife, Ping, a part-time waitress in a Cha Chaan Teng, and son, Pak Yin. Amidst all the struggles for affordable accommodation, Hung never succumbs and hopes they will eventually move into a public housing unit. Yet, the lives of three get even rougher when Ping finds herself pregnant while they are being forced to leave but unable to find a new flat. Meanwhile, Pak Yin chooses to endure silently for the sake of his parents. Trapped in such a vicious cycle, are love and companionship the way to resolve?

Lam Ka-wai is a young rebellious man who seldom goes home early and always quarrels with his parents. One day, a zombie followed Lam back home. Except for Lam, both of his parents and sister became zombies. Even though Lam managed to keep them under control, he could not leave his home. Forced to stay there, Lam had no choice but to live with his family. He had never really cared about his family, but he was starting to learn how to get along with them. Lam gradually understood their daily habits and started to regret not cherishing the good old days with his family. Unfortunately, Lam was later bitten and also turned into zombie when he searched for food outside. Will Lam choose to die with his whole family or become zombies all together?

In one of his finest dramatic performances yet, Louis Koo stars as a veteran ambulanceman who simply wants to do his job without any interference from his boss. While he considers emigrating with his daughter, he clashes with his new partner, a young go-getter on the fast-track up the bureaucratic ladder. A mature directorial effort by Cheuk Wan-chi, this dramedy about Hong Kong’s civil service culture and the latest emigration wave is a charming, yet sobering love letter to her city and its people, especially those who still remain.

Anger breeds anger, and hatred breeds hatred. Restaurant owner Mr. Wong stresses about the business when he has to face rent increases every year. Restless and tense, he channels his anger to Ka Yeung, the timid newest employee. Taunted by his customers, his boss and life in general, Ka Yeung is barely keeping his head above the water with his father being an unlicensed hawker. One incident escalates to another like a Greek tragedy and anger spirals out of control, causing irreparable outcome. This is a story about two men who live in an unforgiving city, both trying to find their way out but ended up hurting each other.

Inspired by the true story of Hong Kong’s first teenage baseball team. In the 1980s, two childhood friends join the Shatin Martins, a Band 3 school baseball team managed by the school principal. From these humble beginnings, the boys experience camaraderie, fall in love and make fateful decisions that resonate throughout their lives amid a changing Hong Kong and its sporting world.

Yayang is an Indonesian girl who came to Hong Kong and work, dreaming to improve her quality of life in Indonesia someday. Yet, she is hired as domestic helper by a grassroots family that has unstable financial status. Despite the fact that Yayang is underpaid by her employer, close bond is developed between her and the family. This makes Yayang faces the dilemma of staying or quitting this job for a better salary. Would beautiful life still remain a dream for her?

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).

What’s the price one will pay for one’s beliefs? Chan Siu-yau’s life is forced to a halt after being charged, somewhat belatedly, with unlawful assembly and assaulting a police officer during a demonstration in support of striking dock workers over a year ago. In the eyes of fellow activists, she’s no radical, just a concerned citizen singled out for punishment amid an escalating tug-of-war between law enforcement authorities and rights advocates. While Yau is working her shift in a restaurant, busy taking orders and sorting out dirty dishes, the annual June 4 candlelight vigil takes place in the pelting rain, bodies soaked but high spirits undamped. Having missed her university admission exams with two criminal charges looming over her head, what does the future hold for her? Is she guilty as charged?