薄命佳人

On her way home from Lan Sin Restaurant, Liang Li-chin is horrified to have beheld a man's body inside a private hired-car. But when she explains what she has seen to her fiance Hu Ming-lin at his Red Bat Apartment, she is no longer sure whether it was a drunkard or a corpse. But Hu is arrested by the Police as the suspected murderer of his boss Chia Lei on certain material evidences: a/ Hu's visiting card has been found near the corpse; b/ the scarf which strangled Chia to death belongs to Hu as there are his initials M. L; and c/ he has been seen to have quarreled with Chia. But somehow Hu denies he has killed Chia. Liang now recalls that she has seen a strange figure, a man, that night in the car. She is sure he was not Hu, but the Police Inspector, is not a bit convinced, especially because of her relation with the suspect, Hu. Liang feels she must act fast, if she is going to save her fiance's neck.

Yang Mengchi is a spoiled, rich do-nothing whose habit of smoking opium has cost him his entire fortune and the family mansion, the Garden of Repose, now due to be sold to Yao Guodong. Fearing that Yao's spoiled and unruly son Siaofu will follow in Yang's footsteps, Yao's stepwife Wan Zhaohua tries to instil discipline in the child but her efforts are undermined by the child's indulging and protective father and grandmother. Unable to reform himself despite his own son's chastisement, Yang leaves home to lead a reclusive life in a destitute temple, only helped out by his filial daughter Han'er. The poverty-stricken Yang is drafted into the army and tragedy ensues.

Hong Kong comedy film.

A comical look at the preparations and anxiety associated with marriage. As a young man searches for his ideal mate, he reflects upon this madness and has second thoughts about matrimony.

Tang Bohu is smitten by the stunning beauty of Qiuxiang, the maid of Grand Tutor Hua, during his visit to a monastery in Suzhou. Stalking the maid, Tang's affections are finally reciprocated with three charming smiles. To approach the fair maid, Tang seeks work in the Grand Tutor residence as a study companion, and his talents win Hua's attention. As a frustrated suitor, he turns to his resourceful friend Zhu Zhishan for help.

A scholar falls for a beautiful maiden whom he invites to stay with him, but she is not what she seems to be...

A financially struggling office worker goes into debt in order to afford traditional holiday gifts for his boss and landlord. Part of Hong Kong Film Awards' 100 Best Chinese Movies.

Red Heroine was a smash hit on release and a prime example of the martial arts explosion of the late 20s (setting the template for later revivals), but with a crucial twist: in place of the typical, manly hero we have a swashbuckling woman. At first she’s a helpless abductee, then an unstoppable killing machine, fighting to stop a tyrannical warlord ravaging the countryside and enslaving numerous (very) scantily-clad young women.

Storm over the Yangtze River tells the true story of undercover intelligence agent "Yangtze Number One" and his colleagues in Jianli County of Hubei Province, who risk their lives to carry out the "Dead Bridge Plan" to secure the "Yangtze 180 Blockade". Li Lihua gives an iconic performance as a strong and charming agent of an intelligence unit, engaging in a risky mission to save her unit chief-cum-lover, who is regarded as a traitor but actually is a double-dealing agent against the Japanese occupation. The film garnered four awards at the 1969 Golden Horse Awards, including Best Leading Actor and Best Leading Actress.

Smash Up (1952 film) (Chinese 蛇蝎美人) also known by the aliases: The Vicious Beauty and Destroy; is a Hong Kong drama film directed by Bu Wan-Cang and produced by Shaw Brothers Studio. It starred Bai Guang, Wong Ho and Yiu Kwang-Chao.

Famed director Zhu Shilin tries his hand at a horror film! The beginning of The Living Corpse immediately sets the tone with a folk duet clearly inspired by the popular 1956 musical Songs of the Peach Blossom River. The duet, in addition to Zhu's frequent use of long, empty shots and crisp editing, gives this horror film a traditional poetic charm and a strong folk flavor. Mise-en-scene and sound effects create a terrifying atmosphere, and successfully communicate the ghostliness of a world without ghosts.