Cora Miao

Kariyerist bir doktor ile duygusal olarak olgunlaşmamış bir yazarın evliliğindeki kriz, bir fotoğrafçı ile adi bir suçlunun hayatını da değiştirir. Taipei sokaklarında sirenlerini çalarak giden polis arabaları, şehrin hızlı değişimiyle ortaya çıkan toplumsal çatışmalara ancak tanık olarak kalır.

San Francisco's Richmond District. A widow welcomes the Chinese New Year. 62 years old, she wants to make a trip to China to pay last respects to her ancestors. A fortune teller has told her this is the year she'll die, and a daughter, Geraldine, remains unmarried. Geraldine's boyfriend lives in Los Angeles and she's not sure she's ready for marriage, nor does she want to leave her mother alone in her declining years. Mrs. Tan's cheerful brother-in-law, Uncle Tam, tries to help out.

An American-Chinese man brings over his wife from China to America, but the challenges of making a living and adjusting to a new life, plus the attentions of a gambler threaten their marriage.

A man is hired by a group of people he believes to be gangsters to escort a briefcase from America to Hong Kong. When he arrives, however, his contact is nowhere to be found. With no further instructions, he decides to take in the sights of Hong Kong, which consist of him taking part in a great deal of blood, sex and general weirdness, all while wearing a briefcase handcuffed to his arm.

A Japanese photojournalist revisits Vietnam after the liberation to document the nation, and begins following and documenting the young children from a poor Vietnamese family.

Taking place in 1941, Love in a Fallen City centers on Pai, a young woman who has been ostracized by her family for divorcing her rich husband. A local match-maker, Mrs. Hsu, takes pity on Pai and decides to bring her to Hong Kong, under the guise of employing her as the Hsu's nanny, but in reality to introduce her to Fan. Pai and Fan seem to hit it off, but Fan's refusal to marry Pai soon sours things. However, as the Japanese begin to invade Hong Kong, the two begin to realize their true feelings for each other.

Wu Viet is a Vietnamese refugee who wants to leave his country behind and start over in the United States. First, he must make his way to Hong Kong, but as he passes through Thailand, he meets a beautiful woman who travels with him. Wu and his new love end up in a refugee camp in Thailand, where they discover many of their countrymen are disappearing under mysterious circumstances. As Wu tries to learn the truth about what's happening, he discovers his life is in danger, and he must flee to the Philippines for safety.

Liang Pao-erh joins the carefree Spinsters' Club when she discovers her husband is having an affair. Despite the seemingly happy front that her sisters put on, beneath it all, each of them secretly yearns for a man in her life.

Biggie and Tiny grow up together. They fight all the time. Biggie is a detective and Tiny is a thief. Biggie has the satisfaction of catching Tiny and putting him behind bars. When Tiny is released, he is approached by Daigau who wants Tiny's help to steal the world famous diamond.

Dim Sum Take-Out shows how the heterogeneity and complexity of Asian American experiences can be erased. It was literally cut together from film that was shot for Dim Sum, which was conceived as a film about the ways in which five women of the Chinese diaspora—three American-born, a naturalized citizen, and a recent immigrant—try to balance their personal goals and the expectations of the Chinese American community in which they live. The original story line was thought to be too complicated and ambitious, and, ultimately, significant portions of Dim Sum were rewritten and reshot to focus on Geraldine, a second-generation Chinese American woman, and her relationship with her immigrant mother. However, footage that had already been shot for the film was edited together to create Dim Sum Take-Out, an eleven-minute film made up of narrative segments intercut with music video style segments, set to English- and Chinese-language versions of the song "My Boyfriend's Back."

Cheung Sheung and Tze Ngor are twin sisters. Tze Ngor is a lunatic and stays in a mental hospital. But out of a madcap incident, Cheung Sheung is "cheated" into the hospital, exchanging identity with her insane sister. The mad house is lived by all kinds of weirdos. The "game" is that Cheung Sheung will stay in the hospital only for a while. But strangely enough, she gradually becomes more and more ease with the way of life in the hospital until one day, she's forgotten what life is like...

Sylvia and Cora Miao play two widowed mothers, best friends and confidants who spend their days reminiscing about times past. Over the course of a lazy weekend afternoon, the two women conjure memories of Cora's husband, his life, his death, and his passionate affair with Sylvia. A series of wistful flashbacks reveal the sometimes touching, sometimes painful circumstances around the women's deep friendship with one another, and their love for the same man.

Clara Law's debut feature deals with her common theme of emigration as two people, man and woman, from separate couples, have to room together while their spouses are in America to finalize the Canadian citizenship process.

When Fu suffers a heart attack, his relatives hover around him hoping to get a slice of his great wealth. But despite his illness, the old man clings stubbornly to life. So greedy family members plan to murder him, intending to make nurse Daisy a scapegoat.

Money Trip is a Hong Kong Comedy starring Kent Cheng.

Early comedy featuring a young Leslie Cheung.

Running Mate is a Hong Kong Comedy directed by Stanley Ko Moon-Kai and starring Alex Man.

Frustration and recovery of a stunt man after his partner's accident.

In this story, a dancer with one of the more conservative Chinese troupes is increasingly frustrated with their stodgy repertoire, and she and her photographer boyfriend want to start a new, more innovative company. They go to the moneymen and eventually arrange this, but the photographer is so overwhelmed by the difficulties he has endured in the process that he has a nervous breakdown and separates from the dancer, who goes on to ever greater success

American Playhouse is an anthology television series periodically broadcast by Public Broadcasting Service in the United States.

The Good, the Bad and the Ugly is a TVB television series, premiered on 1 September 1979. Theme song "The Good, the Bad and the Ugly" composition and arrangement by Joseph Koo, lyricist by Tang Wai Hung, sung by Teresa Cheung.

In "13," visionary Hong Kong New Wave director Patrick Tam delivers his final TV work, an 11-episode anthology series that dives into surreal and darkly comic narratives. Although originally slated for 13 episodes, each standalone story explores eerie undercurrents of everyday life. Highlights include a couple discovering a corpse in their apartment, a schoolteacher uncovering the unsettling truth about her hosts, and a strained summer romance influenced by a mysterious housekeeper. "13" mixes black comedy with Tam’s iconic strange flair, creating a thought-provoking exploration of the bizarre hidden beneath the surface.