The Peach Blossom Fan

Qing (i.e. Qin) Xianglian was the wife of a man named Chen Shimei, who won the first title of national examination and awarded as husband of the emperor's daughter. Then Qing (i.e. Qin) sues Chen as a murderer who plans to kill his wife and son. In spite of the royal power, gownsman Bao Zhen settles the lawsuit and sentences Chen to serve his head.

The Story of Qin Xiang-Lian is a Hong Kong Chinese Opera musical starring Jackie Chan in a child role.

The Eighteen Darts (Part 1) is a Chinese Opera Musical starring Jackie Chan, Sammo Hung and Yuen Biao in child roles.

The Eighteen Darts (Part 2) is a Chinese Opera Musical starring Jackie Chan, Sammo Hung and Yuen Biao in child roles.

The Rainbow Pass is a Chinese Opera starring Sammo Hung in a child role

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In an epic tale of theater, gender, love and class, two Beijing opera actors navigate political turmoil as their friendship evolves over decades.

Narrated excerpts from Chen Shi-Zheng’s acclaimed stage production of Tang Xianzu’s The Peony Pavilion, filmed in Paris after its Lincoln Center presentation. This two-hour document condenses the epic kunqu love story of Du Liniang and Liu Mengmei through opera, dance, acrobatics, puppetry, martial arts and Robert Powell’s narration, preserving the atmosphere of a much longer theatrical event.

Brilliantly played by LAW Ka-ying, the revered Skyblade hails from a prestigious family of Cantonese opera singers. Pressured into performing opposite the sponsor’s child at the celebrated Red Banquet in return for financial support, the reluctant Skyblade is further taken aback when he realises that Jade is a girl slated to play a male lead role in a predominantly masculine cast. However, as Jade’s talent becomes apparent to Skyblade, a bond is formed between the two during rehearsals, and a mutual understanding that both have been sacrificing their dreams and passions out of duty towards the family. When Jade reveals a shocking resolution to take control of her life, it is up to Skyblade to decide their fate on stage.

This film is a portrait of unique cultural space for Spirits, Gods and People. While permanent theatres are commonly built in most cosmopolitan modern cities, Hong Kong preserves a unique theatrical architecture, a Chinese tradition that has lasted more than a century - Bamboo Theatre.

River Of Fury presents the self-discovery and awakening of a young man (Danny Lee), who has been exposed and fallen for the lucrative powers of wealth. Lily Ho played a role in sharp contrast with Lee, which has helplessly fallen prey to the irresistible temptations of wealth under the influence of her mother. Once again, Ho demonstrates her remarkable talent in Chinese opera following her Beijing-opera showcase in The Warlord (co-starring Michael Hui Kwun-man).

Backstage of a traditional Chinese opera, the staff and performers are bringing a play to life: "The Legend of the White Snake."

The film opens with a travelogue, showcasing West Lake and the real Mainland Chinese locations used by the film to which only the Left Wing of Hong Kong Cinema had access to at the time. The title character is a young woman raised by her courtesan aunt in the West Lake scenic resort area in Hangzhou. Siu Siu is perused by a local Official, but falls in love with the son of the Prime Minister. They marry, but are separated by the Prime Minister who arranges another marriage for the son. Siu Siu remains at West Lake, where she regretfully uses the desire of the earlier Official to help another of the girls find happiness.

During the Republican era, wars and conflicts were frequent. On stage, the "Overlord" sings with resounding passion, while below, the absurd spectacle of life unfolds. They must both secure the opera troupe's livelihood and appease the audience in their seats. Once the curtain rises, how should this play be performed?

A wealthy man's son, who has a sinecure as a hotel owner, poses as a bellhop to win the affections of a woman guest with whom he has fallen madly in love, but who seeks a common man who is earning his own way. This first Cantonese-language talkie was based on a successful 1930 stage musical written by and starring Xue JueXian (Sit KokSin), the plot of which was in turn inspired by a 1929 silent Hollywood romance called "The Grand Duchess And The Waiter" which Xue admired. The film was produced not in Shanghai, by the Tianyi studio, headed by the eldest of the Shaw Brothers, Shao Zuiweng (RunJe Shaw), and was so successful in the Cantonese-speaking parts of China that Shaw moved the Tianyi company to British-administered, Cantonese-speaking Hong Kong to make more Cantonese films in the face of the right-wing Chinese Nationalist government's ban on Cantonese language in favor of Mandarin. A sequel to Baijin Long was made in 1937, and the film itself was remade in 1947.

When facing a path with no future or precedent success, will we ever choose to stay? Cheuk Cheung’s My Way explores the Cantonese Opera tradition of male Dan performers, men who play female roles, against the backdrop of a Hong Kong society increasingly putting less value on art. Although female performers have long been part of the mainstream of Cantonese Opera, the film follows the stories of two young men who are still fascinated by the art of the male Dan, striving to find their own way to carry on the practice. A moving and searching look at the struggle for identity, My Way is a colourful, musical and moving film which offers a unique and highly personal look at perseverance in the face of a changing society.