Yu Zhongying

A street-wise and tough orphan called Maverick is arrested for a petty theft and sent to an orphanage, but succeeds in concealing a watch he had stolen from an old shopkeeper just before his arrest. At the orphanage, he is recruited by a crooked warder for further and more serious crimes. But when two more children are admitted to the orphanage -- a boy called "Fatty" and a girl called "Little Mouse" -- he makes the first friends he has ever had. But when Maverick learns the girl is the granddaughter of the old shopkeeper he stole the watch from, and what ruin it brought to her family, he has a crisis of conscience.

Chen Shaochang (Shi Hui), a primary school principal widowed at a young age, raises his children alone. His close friend's daughter, Liu Minhua (Zhu Jiachen), whom he hasn't seen for many years, begins working at the primary school through his introduction. Chen Shaochang's son, Jianzhong (Han Fei), and daughter-in-law, Feng Lijun (Li Huanqing), consider Chen's job undignified. After retiring, he is filled with melancholy, understood only by Minhua. Although their relationship deepens, they must contend with the ethical and social norms of Republican-era Shanghai.

During the war against Japan, a young woman fell into the enemy's spy organization, and engaged in a series of espionage activities, before being inspired by members of the Communist Pary.

A steel plant staff is in conflict over whether to use domestic materials or continue importing from the Soviet Union after the Soviet Union adopts an anti-Chinese position in 1972.

A New York City businessman meets a window washer hoping to commit suicide and decides to market his grief to the highest bidder in this acidic satire on American capitalism, one made even more memorable by the fact that the entire “American” cast are Chinese actors in whiteface. The greedy Mr. Butler (Shi Hui) convinces the suicidal “Charley” that he might as well endorse some cigarettes as he jumps out of his office window, and maybe wear a particular suit too. A true cinematic oddity, this Korean War–era propaganda piece is a satire that Frank Tashlin could envy.