Ko Hsiang-Ting

Set in the decadent 1920s, Temptress Moon tells the very complicated story of a wealthy family living on the outskirts of Shanghai. Their youngest daughter, Ruyi, is brought up as a servant to her opium-addicted father and brother. Meanwhile, her brother-in-law Zhongliang has a successful, if illegal, career seducing and blackmailing married women in the city. When he comes to Ruyi's home the two fall in love, and trouble ensues.

Three young martial arts brothers, played by Chi Kuan-chun, Alexander Fu Sheng and Leung Kar-yan, go in search of fellow patriots dissatisfied with Imperialist foreigners and wind up joining a rising sect of the Boxers, led by an opportunistic conman. Named as such for their use of martial arts, these boxers are revolutionaries who believe that spirits protect their bodies from foreign guns. They even dupe the Empress Dowager, who gives them her royal blessing to fight the foreigners.

When a sailor accidentally kills a Japanese man in a bar room brawl, he tries to escape the law by hiding himself in a freighter heading for Japan only to find himself in the middle of a massive drug war.

The story of the Opium War between China, in the waning days of the Qing Dynasty, and the British Empire, in the 1830s, and the subsequent takeover of Hong Kong by Britain; through the eyes of the key figures, fiercely nationalistic Lin Zexu, and opportunistic British naval diplomat Charles Elliot.

A pair of highly skilled fighters and brothers looking for their missing uncle find unexpected help in their search from a crooked restaurant owner.

1969 Taiwanese-Japanese co-production adaptation of the 16th-century Chinese novel Investiture of the Gods by Xu Zhonglin and Lu Xixing.

Directed by some of most well known Chinese-language directors of the time, the portmanteau film Four Moods was an attempt to alleviate Li Han-hsiang’s financial troubles during the late 1960s. Arguably one of his best works, King Hu’s short Anger is an adaptation of the famous Peking opera San Cha Kou; set to opera instrumentation and stylishly shot, the film deftly captures the tense showdown between political schemers, avengers and vagabonds inside an inn. Li Han-hsiang’s Happiness, inspired by the Strange Tales of Liaozhai, tells a tale of reprieve for a kind-hearted ghost, while Pai Ching-Jui’s Joy and Lee Hsing’s Sadness both explore the fateful encounters between mortal men and ghostly women.

After an unsanctioned match between a Chinese martial arts student and a Thai boxer results in disgrace for the Chinese, they determine to train and salvage their master’s reputation.