Two interweaving stories take place around Chungking Mansions, a mazelike commercial complex in Hong Kong. One cop, lovesick after being dumped by his girlfriend, falls for a mysterious, blond-wigged, gun-toting femme fatale, while a second cop remains oblivious to the attentions of a California-dreamy waitress at a fast food counter who resorts to re-arranging his apartment behind his back.

World Premiere at Taipei Golden Horse Film Festival.
People would say, how much they wished to reincarnate as a human in their next life. But for Ming, he merely wanted to become a red plastic chair. He feels dejected and is faint-hearted, living a life of worthlessness day in day out. Arriving home after a long working day, he only finds himself in another hellish nightmare, for he shares a room with his younger sister, who is always getting laid with her boyfriend.
Ming has nowhere to hide and the unspeakable secret about his family would disturb his sleep oftentimes. As a way out, he decided to find a new home and came across Jenny, a real estate agent. The two of them seemed at odds with one another, but developed a friendly understanding and became rather compatible over time. In the eyes of Ming, when will life come to an end? Every day is just a ceaseless whirlpool of misfortune. (Taipei Golden Horse Film Festival) With 25 minutes after-screening Q&A, Ao Ieong Weng-Fong, the filmmaker will attend the screenings. Wong Hin Yan will attend the 16 May screening.

In C.E.75, the fighting still continues. There are independence movements, and aggression by Blue Cosmos... In order to calm the situation, a global peace monitoring agency called COMPASS is established, with Lacus as its first president. As members of COMPASS, Kira and his comrades intervene into various regional battles. Then a newly established nation called Foundation proposes a joint operation against a Blue Cosmos stronghold.

The teaser trailer glimpses the initial encounter and subsequent development of friendship between Shoyo Hinata and Kenma Kozume, culminating in a decisive match on the volleyball court. With Shoyo Hinata’s famous line: “Let’s play a game that can’t be repeated”, the stage is set for “The Dumpster Battle”!

An all-new action-adventure spectacle, 20th Century Studios’ “Kingdom of the Planet of the Apes” opens exclusively in theaters May 09, 2024. Director Wes Ball breathes new life into the global, epic franchise set several generations in the future following Caesar’s reign, in which apes are the dominant species living harmoniously and humans have been reduced to living in the shadows. As a new tyrannical ape leader builds his empire, one young ape undertakes a harrowing journey that will cause him to question all that he has known about the past and to make choices that will define a future for apes and humans alike.

After her partner’s unexpected death, a woman finds herself at the mercy of her partner’s family as she struggles to find her balance and dignity while trying to retain the home, they shared for over thirty years.

While investigating a drug-trafficking app, “Monster Cop” Ma Seok-do and his team discover a connection between the app’s developer, who was murdered in the Philippines, and an illegal online gambling organisation. Meanwhile, in the Philippines, Baek Chang-gi is controlling the Korean online illegal gambling market and spreading terror with kidnap, assault and murder. His partner, the IT genius Chang Dong-cheol, is planning an even larger scheme in Korea itself. To put an end to the escalating threat, Detective Ma expands his operation by proposing an unexpected alliance… The fourth instalment in the Roundup series.

In 1989. Eleven-year-old Liao Jie and his father have been saving money, hoping that they will be able to buy a home of their own in three years. However, they fail to notice that the world is rapidly changing. The property prices have rocketed and in the blink of an eye, their savings are not enough. In frustration, Liao Jie comes to realize the harsh reality of being poor. In contrast to his father, their landlord who people call “Old Fox” emerges as a winner and he seems to be a better mentor to Liao Jie. Old Fox teaches Liao Jie how to survive in society, and that is something his father has never taught him. Nonetheless, Liao Jie ends up hurting Old Fox with what he has learned from Old Fox. On the other hand, like his father, Liao Jie is someone who always empathizes with others, and it is this quality that stops Liao Jie from becoming another “Old Fox”.

From filmmaker Alex Garland comes a journey across a dystopian future America, following a team of military-embedded journalists as they race against time to reach DC before rebel factions descend upon the White House.

'Perhaps all our likings come later in life. All our affections come from a piece of childhood memory.' Yuen moves to Hong Kong with her mother from Hunan at the age of 8 to reunite with her father. Everything in the city is dazzling and new to her. However, the family face poverty and a cultural barrier. Worse still, the father has a drug habit and has a difficult relationship with the family. This certainly is not the dream home Yuen has been looking forward to. All she wants is that her younger sister could reunite with them as soon as possible. Out of fear, the sisters try to appease to their father in their younger years. As soon as they reach adolescence, they start to resist and escape from him. However, even after they grow up and move away from him, Yuen realizes all the people she loves and treasures resemble her father in her childhood memories.

“Rent-a-Family” specializes in offering family and friends for rent. The company consists of Carlos, the founder; Catherine, the drama coach; and Chi Kwong, the passionate small-time actor. Carlos and Catherine disapprove of Chi Kwong's overwhelming care for their clients, but they begin to rethink the meaning of "Rent-a-Family" when they see the results of Chi Kwong's kindness...

“Love, keeps the spirit of the dead alive, in memories.” When a patriarch (Lau Ching-wan) dies in a car accident, a once-happy family of four experiences earth-shattering changes. As an adult, the daughter (Mia Yam) decides to write a novel to alleviate her mother’s (Kelly Lin) pain. In the novel, she imagines that her father was blinded after surviving the crash and also turns to writing to find healing. However, in the midst of writing, the daughter suffers the loss of both her mother and her little brother, causing both the real and fictional worlds to collapse. Wai Ka-fai continues his exploration of fate and impermanence. The complex script he co-wrote with Au Kin-yee features an intricate and carefully linked narrative structure that blurs reality and fiction, with a depiction of the afterlife that combines mystical characteristics from both East and West. A writer can determine the life and death of a character, but who decides the life and death of those in the real world? This is one of the few Hong Kong films that truly explores the meaning of creation and life and death in depth.

Miss Giddens (Deborah Kerr) is hired to work as a governess for Miles and Flora at a country estate. When she hears about a ghost story involving the previous governess and witnesses the children’s odd behaviour, she wonders whether they are the doing of humans or spirits who are possessing human bodies. In addition to the two children’s superbly uneasy performances, Kerr is also at the peak of her performing prowess, perfectly conveying the secret intertwining of sexual consciousness during the religiously puritan Victorian era. Georges Auric’s off-kilter score and Freddie Francis’ magical black-and-white widescreen cinematography go against horror conventions with their ethereal and mysterious style.

Despite the film’s title, who are the true innocents among the adults and children in the story? After all, the deep chasm of human nature that stands between sin and taboo can be chilling. An expert in literary adaptations, director Jack Clayton perfectly captures the ambiguous qualities of Henry James’ The Turn of the Screw. Employing a Goethe-style visual narrative and impeccable mise-en-scène, Clayton instills a sense of supernatural psychological terror that transcends the horror genre.

Miss Giddens (Deborah Kerr) is hired to work as a governess for Miles and Flora at a country estate. When she hears about a ghost story involving the previous governess and witnesses the children’s odd behaviour, she wonders whether they are the doing of humans or spirits who are possessing human bodies. In addition to the two children’s superbly uneasy performances, Kerr is also at the peak of her performing prowess, perfectly conveying the secret intertwining of sexual consciousness during the religiously puritan Victorian era. Georges Auric’s off-kilter score and Freddie Francis’ magical black-and-white widescreen cinematography go against horror conventions with their ethereal and mysterious style.

Extraordinary soprano Asmik Grigorian tackles the demanding role of Cio-Cio-San, the loyal geisha at the heart of Puccini’s devastating tragedy. Tenor Jonathan Tetelman stars as the callous American naval officer Pinkerton, whose betrayal destroys her. Mezzo-soprano Elizabeth DeShong reprises the role of the steadfast maid Suzuki, and baritone Lucas Meachem is the American consul Sharpless. Acclaimed maestro Xian Zhang takes the podium to conduct Anthony Minghella’s vivid production.

Puccini’s bittersweet love story arrives in cinemas with soprano Angel Blue starring as the French courtesan Magda, opposite tenor Jonathan Tetelman as Ruggero, an idealistic young man who offers her an alternative to her life of excess. Maestro Speranza Scappucci conducts Nicolas Joël’s Art Deco–inspired staging, which transports audiences from the heart of Parisian nightlife to a dreamy vision of the French Riviera. Soprano Emily Pogorelc and tenor Bekhzod Davronov complete the sterling cast as Lisette and Prunier.

Two singers at the height of their powers—radiant soprano Nadine Sierra and tenor sensation Benjamin Bernheim—come together as the star-crossed lovers in Gounod’s sumptuous Shakespeare adaptation, with Met Music Director Yannick Nézet-Séguin on the podium to conduct one of the repertoire’s most romantic scores. Bartlett Sher’s towering staging also features baritone Will Liverman and tenor Frederick Ballentine as the archrivals Mercutio and Tybalt, mezzo-soprano Samantha Hankey as the mischievous pageboy Stéphano, and bass-baritone Alfred Walker as Frère Laurent.

Based on real events, Il Postino tells the unlikely friendship of a world-famous poet in exile and a young local postman hopelessly in love. Pablo Neruda, exiled on an Italian island, eagerly waits for letters from his native Chile. He transforms his nostalgia into writing love letters for his new found friend.

The breathtaking scenery and music calls for an immersive experience. Watching it in a darkened auditorium has the miraculous feeling of warmth, as if you’re regressing into blissful infancy.

We, also living on an island, have an additional affinity with Neruda as a connoisseur of Chinese culture. Chinese translations of his poems almost read as direct as the original, depending on the precision of the translations.

The confines of a Mediterranean island is the fountainhead of an infinite universe of poetry. Just like Schrödinger’s Cat the fates of the poet and the postman are indeterminate until very late into this poem written on celluloid transcending our mortal coils.

Poets shed not only the red blood of their hearts but the white blood of their souls.

Constructed more on a psychological flow than a conventional story structure, The Blood of a Poet takes its viewers on four ostensibly unrelated dramas on life and death. Cinema begins when words has reached their limits and Cocteau still shows us cinema is a better vehicle for poetry than reality, and brings solace even to viewers of today.

When someone dies, how should the living go on? In the 1920s, World War I veteran Julien (François Truffaut) is a small-town reporter who is known as “a virtuoso of the obituary.” He is still trapped in the pain from the death of his wife eleven years ago, soon after their wedding. The film’s titular “Green Room” refers to a room in Julien’s home dedicated to his late wife’s memory, filled with belongings she left behind. Even when he meets auction house secretary Cecilia (Nathalie Baye), Julien not only remains indifferent, he even invites her to help him transform an abandoned chapel into a private temple for mourning the dead and enshrining those in his life who have passed. Adapted from Henry James’ short stories, the film is shrouded in the gloominess of death. In the final work that he co-wrote, directed and starred in, Truffaut plays with withdrawn and morbid widower with deep affection.