The director’s cut does sometimes feel its length, but otherwise this is a solid biopic by Stanley Kwan about one of the most eminent Chinese actresses from early 20th century, played by a stunning Maggie Cheung.
To deliberately takes B-movie action preposterousness to wildly delirious levels in this work of inventive imagination and delightful campiness.
Anita Mui and Leslie Cheung star in this movie straddling between two eras with a ghost story in the mix, directed by Stanley Kwan with a strong sense of melancholy and nostalgia.
Wong’s expanded version of his short for the ‘Eros’ anthology is more erotic and fatalistic than usual, and also an aesthetic and thematic extension of the world he created with ‘In the Mood for Love’.
This early underrated work from Stanley Kwan may seem like it is all over the place in terms of tone and storytelling, but he just about pulls it off in its depiction of wasted youth and listlessness.
Stanley Kwan’s gay drama, set in 1980s Beijing, feels more impressionistic than a deeply-felt journey with its characters, though the performances are compelling enough to overcome its rather lean narrative.
To’s odd anti-action structural experiment takes too long to build up a self-contained story set in a hospital ward as doctors, cops and criminals try to outwit one another psychologically, that when the action comes, it feels like a stylistic distraction.
This politically stirring and at times truly heartbreaking Golden Horse-winning documentary gives us that intense journalistic, on the ground experience of the 2019 Hong Kong protests from start to end.
Rich characterisations adorn this talky slice-of-life drama from Ann Hui as it tackles love-hate family dynamics and dementia with bittersweet results.
Chan does his stunts and comedy with aplomb, but this sequel is let down by a wafer-thin plot and poor pacing.
Eternality Tan 