Joyce Chan Wan-Man

Two cops are on the trail of gang that are planning a jewel robbery. Inspector Chow lives at home with his mother, while Inspector Pang has gambling problems that the gang exploits. Soon, innocent victims will pay with their lives.

Four carefree lovers in Hong Kong enjoy their youth while danger looms on the edges.

The beautiful Cherie Chung plays the title character, an exercise teacher who is wooed by a rich, older businessman and a young photographer. You watch Cherie as she bounces between these two, not really liking the businessman, while the photographer is more in love with her image as his model than as a true love.

Instead of following the wishes of her parents and flying to Toronto, Mo-yung (Anita Yuen) journeys instead to NYC, in hope of finding Benny (Simon Yam), the man she loves. There, she meets Rubie, a sympathetic clinic worker who helps her to settle in the city.

A tangled murder mystery unfolds amid a complex love triangle. As conflicting witness accounts emerge, the truth about the victim and key suspects is revealed, leading investigators down a dark and twisty path where nothing is as it seems.

Ah Sze (Cecilia Wong Hang-sau) abandons the country for city life, but fails to find refuge from her relatives in Macau and Hong Kong. Writer Joyce Chan realistically portrays a teenaged girl whose choices are finite if she wants to survive. We see Ah Sze in one scene, an innocent girl still in pigtails, in stark contrast with the next scene after she has lost her virginity. It creates an emotional impact that is more than heart-wrecking.

Set in San Francisco, Love Massacre follows college student Ivy as she tries to help her friend Joy recover from a breakup. Ivy soon becomes involved with Joy's married brother Chu Chung, who spirals into senseless violence as he breaks into Ivy's dormitory and goes on a delirious killing spree.

The Man from Vietnam is a Hong Kong Crime-Drama directed by Clarence Ford and starring Stanley Fung.

Ryuichi Okagawa, a Japanese writer who worked as a reporter in China has been sick ever since his return home. While in China, Okagawa had met a devoutly religious girl named Jin-hua. Okagawa was born with a predisposition to agonizing recurrent migraines, but found happiness with Jin-hua and married her. Unfortunately, he already had a wife in Japan, and this revelation crushed Jin-hua. When Okagawa returned home, leaving Jin-hua behind, she was forced to work as a prostitute, catching both a severe case of the flu and a rather less socially acceptable condition. Meanwhile, Okagawa's guilt has torn him apart enough for him to return to China in an attempt to bring Jin-hua home with him to get medical attention, but the girl is already too far gone for his help.

The first episode of the Hong Kong reclaimed “Social Worker” series (1976)

Kwong and Ming, two boys from rural China, sneak into Hong Kong to get quick rich. But they are instantly disillusioned and they get into messy situations. The superstar who looks exactly like Kwong has a nasty spill in a dangerous stunt and dies. Kwong is recruited to stand in. Money and all life's amenities become available to the pair. While Ming makes the best out of the situation by gambling and womanizing, Kwong realizes that his own amazement money is not everything.

A romantic comedy directed by Hong Kong New Wave filmmaker Yim Ho.

Miu Kam-fung, who plays the film’s titular character, addresses her identity as housewife and actress in Patrick Tam’s commentary on the dangers of rampant consumerism, seen as a defining moment for contemporary Hong Kong. In its studied references to Godard, Tam’s work buzzes with modern life—supermarkets, billboards, television—and juxtaposes these references with questions about marital infidelity, middle-class morality, and even political sentiment.

Simon Loui's character gets thrown out by his vicious girlfriend and ends up taking on a VERY different social status than before. That of the beggar but together with a group of seemingly crazies (Victor Wong, Joe Junior and Elvis Tsui), he gets a new outlook and direction in life...

A Cantonese opera company is attacked by an army of ghosts, thanks to a feud between the dead grandfathers of one of the company's actresses and a young man.

Four episodes combined. Dawn: the first cop goes to interrogate the parents of a babygirl who got burnt by an iron. These, eventually admit to be the one responsible but they state it was an accident. Going back on a bus, he reads a newspaper article reporting another case of violence against minors. Noon: the moustached cop cop collects the report of a mother regarding the presence of perverts in her building. A thirteen-year-old girl is spotted with a man in equivocal acts: when she is interrogated she shows no signs of anxiety. Dusk: in a nursing home a guest kills another old man with an axe. He is interrogated by the older cop who, once back home, talks with his wife and daughter while watching sadly TV. Night: the fourth cop is in a disco when he gets the call that a collegue’s wife was the victim of a hit and run. The following morning he goes back to the office.

The film depicts the youthful troubles of three young couples in Hong Kong in a remarkably down-to-earth and touching way. Each character has a distinct personality, and their experiences reflect various aspects of Hong Kong society.

In the last episode of Patrick Tam’s anthology series “Seven Women” (1976), Lisa (Lisa Wang) suffers from "environmental depression" and those around her treat her like a lunatic. Joyce deploys a creative mix of dialogue and monologue to illustrate Lisa's complicated personality. She might act like any normal obedient daughter around her parents, yet other times she reveals her overly sensitive and suspicious mind as her moods run the gamut from poetic to violent. The villa where Lisa is sent to heal becomes a tumultuous battleground when a young doctor who has his own psychological hang-ups begins treating her and a conflict of egos is ignited.

The fourth episode of Patrick Tam’s anthology series “Seven Women” (1976), which adapted from Swedish play “Miss Julie”

The third episode of Patrick Tam’s anthology series “Seven Women” (1976), with three short stories combined.

The sixth episode of Patrick Tam’s anthology series “Seven Women” (1976), which adapted from Pat Flower’s “The Tape Recorder”