Josephine Siao Fong-Fong

The secret Red Lotus Flower Society is committed to the overthrow of the evil Manchu Emperor and his minions. One of his Governors is sent on a mission to retrieve a list of members of that secret society. Meanwhile, Canton kung fu practitioner Fong Sai-Yuk falls in love with the beautiful daughter of a rich merchant.

The hero Fong Sai Yuk becomes involved in the secret brotherhood "The Red Flower", who are trying to overthrow the Manchurian emperor and re-establishing the Ming dynasty. The social upheaval is combined with Sai Yuk's personal moral conflict about how to conform to the rigid regime of the brotherhood and on top of that sort out his difficult love life, saddled with two presumptive wives.

Lau Ching, a Mainlander with an incredibly powerful right arm, arrives in Hong Kong to find his cousin. He befriends with a drifter named Handsome, and a martial artist girl named Mandy. In order to woo her, Ching participates in a fighting competition in hopes of winning a $10 million prize, and must defeat his love rival, Wai, in the ring.

After the total defeat of his love rival, Ching must now deal with the love rival's brother, Wan To, who seeks revenge against him. When Ching is ambushed by Wan To and his gang in the streets and is at risk, he is rescued and treated by an apprentice of his, Beef Skin, and his feisty sister, Beef Stew. It turns out those two are even harder to handle than Wan To.

A revenge thriller unlike any other, Lung Kong confronts themes of reform and revenge by turning his focus to the subject of disaffected youth. Young Josephine, an audacious performance by a 22-year-old Josephine Siao, is sentenced to an all-girl reform school on the periphery of Hong Kong after a violent bar brawl. Along with a few accomplices, she escapes from the intolerable administration, only to find the streets an even more hostile environment, driving the girls to blood-soaked vengeance. An enthralling youth-in-revolt film from the rare perspective of its female protagonists, shot in indelible widescreen color photography, Teddy Girls is one of Lung Kong’s most enduring triumphs.

Melodramatic film about a child prodigy.

Tells the story of the relationship between a widower with Alzheimer's disease and his daughter-in-law, May Sun, who is a housewife in her forties trying cope with the upheavals in her family.

Kit-Fong was cultivated by composer Chun-Fai, who even invited her to perform in nightclubs. Kit-Fong's mother died of illness, and Chun-Fai sold her piano to help her tide over the difficulties. Kit-Fong couldn't bear it, so she borrowed money from the nightclub manager to buy a piano back, but she was almost cheated. Chun-Fai was so moved that he decided to marry Kit-Fong. Chun-Fai asks his brother for the money left to him by his father, but he wants to embezzle the inheritance, so he forces Kit-Fong to leave Chun-Fai, who has no choice but to go abroad. Chun-Fai always drank to drown his sorrows. Fortunately, he was encouraged by his friend and his sister Pik-Shan, who became famous in one song. Shan is very loyal to Fai, but unfortunately she is terminally ill. Fai marries Shan to repay her kindness. Fong returns and learns that Fai is married. While sad, Shan is missing and brings Fai and Fang together to renew their relationship.

Upon returning home, sailor Yu (Richard Ng) is shock to discover that not only his wife left him, but the house has also been sub-letted to an old maid, May Wong (Josephine Siu). Both Yu and Wong have their own strange habits, and them living together under the same roof causes numerous hilarious incidents.

A father with four daughters, but has a conflicted relationship with his eldest one. Will they ever reconcile, despite their differences? A light-hearted romantic-comedy about a girl (Josephine Siao) who brought a boy home to get him a job at her father’s business but there’s only one problem; her younger sister has to stand-in and pretend to date her boyfriend.

One of Hong Kong's most influential filmmakers, Ann Hui, becomes a “star” for the first time in Man Lim-chung's directorial debut. A forerunner of the New Wave, Hui’s tumultuous, forty-year career is an unequivocal testimony to her unyielding dedication to filmmaking, and her expedition into the metamorphic city. This biopic probes into the acclaimed director’s idiosyncratic world, where we witness her rashness and goofiness, as well as her humanistic concerns for the everyday nobodies which make her films so moving.

The master of the Soul-Snatching Banner has re-emerged in jiang hu to cause chaos and disruption. He leaves his mark - the killing flag - to show where he will strike next. The younger generation of swordsmen and women seek him out to end his rampage but each end up badly injured and dispirited. Part one of two.

Kin chan no Cinema Jack is an anthology film starring Yuen Biao and produced by Jackie Chan

Cross the Hu-du-men - the demarcation between the back and front stage in Cantonese opera - and you leave yourself behind to totally absorb in your character. Lang Kim-sum is a charismatic Cantonese opera star who understands it's a point of no return once she crosses the Hu-du-men, on stage and in life. Respected by colleagues and friends, and about to retire, Lang has yet to face new, unexpected Hu-du-mens in domestic and professional life.

This is a film about a young boy, that is helped by a ghost, to reunite with his separated parents.

Mei-yuk works at her father Chak-On's company and meets Bing-Hin, but doesn't have a good impression of him. When the father tries to match make Mei-yuk and Bing-Hin, the two object, not knowing that they are pen pals that have developed feelings for each other.

Hong Kong movie

Rascal To Chai-yan brings a false charge of selling fake medicine against doctor Fan Tin-sang, who is sentented to a twenty-year imprisonment. Fan makes an escape after a decade, and secretly provides for the education of his son Fuk-kwan brought up by a poor blacksmith. Fuk-kwan grows up to be a doctor practising in the country. To again does harm to Fuk-kwan, only this time Fan intervenes. Both he and To die in the fight.

Po-Chih Leong's debut film was a trendsetter in Hong Kong cinema. Shot from the shoulder, the fast-moving world of cops, informers, drug dealers and other crooks are evoked in a very lively and realistic way. The action all takes place in carefully selected locations, among them the walled city of Kowloon and Yuen Long. The film looks like a documentary and evokes the kind of excitement usually seen in news programmes. The story focuses on the battle between two gangs and starts in Amsterdam, where one of the gang leaders is murdered.

Stanley Kwan's 1992 short film starring Josephine Siao and Maggie Cheung

A light romantic-comedy about mothers who want their daughters to settle down and marry. So they try to lure new male tenants into renting a room in their apartment, hoping love will spark between them and their daughters. Lai-wan terribly disagrees with her mother’s philosophy of searching for suitors like this, and does her best to avoid her tenant. However, her younger sister Lai-ha constantly encourages Lai-wan to fall in love, while also helping the new tenant win her heart. Lai-wan’s cousin Sau-chu is also facing a similar situation but not only can she not stand her own disgusting tenant, she has already fallen in love with another man. A trio of car manufacturers colleagues who are also bachelors, happen to find themselves stuck in this situation together.

In 1966, Connie Chan Po-chu and Josephine Siao Fong-fong starred in multiple contemporary films, cementing their onscreen persona as virtuous young women while becoming the hottest youth idols of their time. Colourful Youth remains the only contemporary film to feature both of them. Filmed in Eastmancolor, the song-and-dance spectacle keeps its fingers on the pulse of its era and presents the vigour of the modern times.