As Hong Kong's foremost filmmaker, Johnnie To himself becomes the protagonist of this painstaking documentary exploring him and his Boundless world of film. A film student from Beijing and avid Johnnie To fan, Ferris Lin boldly approached To with a proposal to document the master director for his graduation thesis. To agreed immediately and Lin's camera closely followed him for over two years, capturing the man behind the movies and the myths. The result is Boundless, a candid profile of one of Hong Kong's greatest directors and a heartfelt love letter to Hong Kong cinema.

Two high school students from very different backgrounds participate in a musical with mentally disabled children, which eventually leads to the realisation of their dreams and aspirations.

In the wake of her passing, fans of the late Hong Kong icon Anita Mui strive to save and return a collection of fan-given gifts that are destined for the landfill. As the items find they way back to the original senders, personal stories of friendship and fandom with the superstar begin to emerge.

10th Anniversary “Miss You Much Leslie” memorial concert held in 2013, commemorating the death of Leslie Cheung in 2003.

Mr Yuen Tai-Yung (b. 1941) is a Chinese artist known for his creation of over 200 iconic Hong Kong movie posters - which include many films from the Bruce Lee, Hui Brothers, Stephen Chow, Jacky Chan and Sammo Hung's kung fu and comedy series. This documentary chronicles the director's quest to find the reclusive master and subsequent encounters with the man within a period of 12 months. It captures the life and art of the self-taught genius who single-handedly depicted the look and feel of what can be describe as the Golden Era of Hong Kong Cinema from 1975 to 1992. Western audiences might recognize some familiar faces from the prolific painter's recent works - undeniably breathtaking - such as the portraits of Marlon Brando, Michael Jackson, James Dean, John Lennon, Audrey Hepburn and Anne Hathaway.

A short visual meditation, OF THE UNKNOWN is set in Hong Kong where millionaires and the ‘working poor’ live side by side in one of Asia’s wealthiest and most densely populated cities. The film explores how our notions of freedom and happiness are shaped by the place we occupy, both literally and metaphorically, in our society. What is the importance of freedom when one faces a daily struggle for survival? Is it even possible to have dreams, or to dream, if one was never given any opportunities in life? https://vimeo.com/113548756

In 2015, Tsai Ming-Liang was once again invited by the Hong Kong International Film Festival to make the opening short film. This time, he selected Shibuya station in Tokyo as his main filming location and invited the famous Japanese actor Masanobu Ando to appear alongside Lee Kang-Sheng. They sleep separately at a capsule hotel and cleanse themselves at a public bath. Their fatigued bodies yearn for sleep but restless minds keep them for falling asleep. "No No Sleep" won the Best Director Award at the Taipei Film Festival.

In 2012, the Hong Kong International Film Festival invited Tsai Ming-Ling to make the opening short film. Having grown up with Hong Kong's popular culture, Tsai Ming-Liang decided to pay homage by making a "Walker" film, contrasting the Walker's slowness with the frenzied pace of Hong Kong's cosmopolitan life. The film ends with a song by Hong Kong actor and singer Samuel Hui, who was Tsai Ming-Liang's idol during his youth. The film was invited to be the closing short film for the Cannes Film Festival in 2012.

A documentary focused on plastic pollution in the world's oceans.

Shot over the course of ten years on both film and video, the film consists of a series of carefully composed tableaux of people and environments. Pedestrians shuffle across a bustling Beijing street, steelworkers linger outside a deserted factory, tourists laugh and scamper across a crowded beach, worshippers kneel to pray in a remote village. With a painterly eye for composition, Wang captures China as he sees it, calling to a temporary halt a land in a constant state of change.

From the ambitious young filmmaker behind Boundless, The Weaving of a Dream is a short documentary that details the making of Johnnie To's film Three.

Edmond Poon, a Hong Kong renowned DJ who hosts psychic programs, supported by the metapsychology masters and warlocks from Southeast Asia who acts as advisors, leads a psychic exploring team to scout for little-known mysterious and supernatural cases or strange customs including Soul-grabbing Witchcraft, Menstruation Witchcraft (Indonesia), Headless Horseman in Prince Hotel, Suicide Curse in Aokigahara Forest (Japan), and MTR Dead Omen, Lone Ghost in Regal Hotel and Secret Organisation Shadow Team (Hong Kong), just to name a few. Many precious clips are uncovered for the first time providing gruesome viewing experience.

Bill Wong works on a wide variety of films, some of modern setting, some with historical backgrounds; some are award winners, some lesser known. As a cinematographer, he does not strive for personal style. Instead, he concentrates on fulfilling the potential of the film and realizing his director’s designs. He is a consummate team player. This documentary features interviews with Wong and five directors with whom he has worked – Patrick Tam, Ann Hui, Tony Au, Lee Chi-ngai and Shu Kei, tracing the paths on which they have travelled together.

They are frozen in place, stagnating without any direction. Around them, things change rapidly.

Tuberous Sclerosis Complex (TSC) is a genetic disorder that causes noncancerous tumors to grow in different parts of the body. However, the Hong Kong government has been slow to allow treatment for the disease, especially in relaxing regulations for drugs that treat the tumors. Director Wong Siu-pong turns his camera on Hong Kong’s medical system with this heartrending documentary about a young TSC patient who also lost her mother to the disease.

J and Jacky are good friends who attend the same school. J is from a single-parent family, and will be taken care by Jacky’s family whenever his mother has to return to Mainland to renew her visa; such kind of story is not an isolated case. These families have been uprooted for a “better future” in Hong Kong, but is this “future” that the children really long to have? A Chinese saying: “How does one understand the joy of fish, if one is not a fish?” Will the adults really understand what the children want?

This anthology film, whose Chinese title begins with a romantic name for human excrement, premiered internationally at Rotterdam and won Best Screenplay from the Hong Kong Film Critics Society. A variety of Hong Kong people wrestle with nostalgia when facing an uncertain future. Their stories give way to a documentary featuring a young barista turned political candidate.

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.

In a fast growing city of East China, migrants have been arriving and living for a dream of a better life. But what they find there is little opportunities and poor living conditions that push people, even couples, into violent and oppressive relations. Xiao Min, Ling Ling and Lao Yeh are some of the characters of this bitter chronicle of today China.

The film traces the life and times of Esther Eng, a San Francisco native known as Hong Kong’s first “directress.” She directed 10 Cantonese talkies.

Hong Kong's high-speed rail link, the demolition of Choi Yuen Village, the impending budget and the influence of the global Occupy movement are at the centre of independent filmmaker Lo's timely measure of the city's pulse. Ostensibly the third entry in a trilogy that began with 21 years after. (2010) and to be continued (2010), which also captured public reaction to watershed moments in Hong Kong's political life since 2009. The documentary was built upon the material used in its previous installment (to be continued, 46 minutes). It disproves the notion of a passive Hong Kong in a chronicle of a generation poised for massive social change.

Three sisters aged 10, 6 and 4 have to cope more or less on their own in a remote mountainous region of Yunnan. Terrible poverty in China, shown with gripping compassion by today's best documentary maker. Shorter version of Three Sisters, which premiered in Venice.

The Ta'ang or Palaung people, an ethnic minority living in the mountainous area between Myanmar's Kokang region and China's Yunnan province, have historically suffered many forced migrations due to war. When their survival is threatened again in 2015, thousands of them flee across the border. Filmmaker Wang Bing accompanies them and becomes a privileged witness to a human story that is both a modern reportage and a mythical epic.

A group of documentary filmmakers began to shoot the civil social movement in Hong Kong, which became part of the city's common landscape. Spanning over two years, the filmmakers attempt to reveal the visible and invisible control behind. They trace a mysterious organization which is suspected to secretly control the weather which dampens the mood and suppresses the intention of the public to participate in social movements. On the surface, the question on inclement weather could be answered by climate changes around the world. The underlying sordid discussion, however, is really about intervention, pervasive suppression and control instead of any conspiracy theory.

When the colors of the street seem fading, vitality of the city seems weakening, rhythm of people's life seems confusing...... There is still a bunch of young people, who are trying to confront the brutal facts of reality, to safeguard the kind of lifestyle they want to live. This is a fable from industrial building.

Shot below the radar, this film follows the journey of Chinese factory migrant worker-turned-activist Yi Yeting, who takes his fight against the global electronic industry from his hospital bed to the international stage.

310 Tung Chau Street is a tenement building in Sham Shui Po. Three Vietnamese from the same province share a subdivided flat. Unemployment, drug addiction, and arguments brew and breed incessantly in this heated environment. During filming, the two young directors were encumbered by a series of obstacles, which turned the process into a chance to reflect on documentary truth.

The masterful new documentary from Wang Bing is an intimate, observational portrait of a peasant family who eke out a humble existence in a small village set against the stunning mountain landscapes of China's Yunnan province.

"I feel like a piece of neon, I'm just a gas inside a tube." — 'Christopher Doyle: Filming in the Neon World' is part of NEONSIGNS.HK — an online exhibition on Hong Kong's neon signs.

MY NEXT STEP follows a young Kunqu Opera artist YANG Yang(28 year-old) over the course of several years. It offers its audience a glimpse into the world of Kunqu, and a magnifying look into the ambivalence of a young man struggling to find a way out for a fading art.

Stuntman, action director, and martial arts legend Mark Houghton tells his story of breaking into the Hong Kong film industry, his struggle with injuries and depression, and the promise he made his teacher, the legendary filmmaker Lau Kar Leung.

The town of Zhili accounts for 80 percent of China's output of children's clothes. 15 Hours was shot in August 2016. Zhili, part of the city of Huzhou in the province of Zhejiang, is home to around 18,000 small factories for children's clothing, manned throughout the year by over 200,000 migrant workers. In the 1980s, Zhejiang saw the emergence of a private capital-based garment industry open to any and all operators prepared to invest in flexible business models based on mutual credit or leasing. This film documents one day in the lives of the workers of 68 Xisheng Road in Zhili.

An insight into the everyday lives of 50 inmates of a mental institution in the Chinese province of Yunnan, who are there for killing someone, committing a crime against a public official, or have a developmental disability.

The story focus on Caridad and Georgina, who had learned the art of Cantonese Opera in Havana as a young age and performed as divas for over a decade before their lives were changed by Fidel Castro's revolution.

'Trailblazers in Habits' is an intimate portrait of a group of American Catholic nuns, the Maryknoll Sisters, who have accompanied the disenfranchised in their struggle for social justice. By turns tragic and joyous, yet always inspirational, this insightful documentary is a revealing portrait of these courageous women. A moving and absorbing chronicle that spans 100 years and several continents, the film celebrates the intelligence and tenacity; the love, compassion and generosity of these early feminists.

Poet and author Xi Xi is one of Hong Kong's most treasured writers. Though also acclaimed in Taiwan and mainland China for seminal works like the essay Shops, her writings are firmly rooted in the spirit of Hong Kong. Leave it to Fruit Chan, another staunchly grassroots auteur, to make a documentary on Xi Xi's career. Chan sought out renowned critics and writers to discuss Xi Xi's works, starting with 1979's My City. He also juxtaposes photos of a changing Hong Kong with readings of her writings, and even playfully inserts characters from her stories into the film.

Via Dolorosa captures director’s journey in reconnecting with Vietnamese homeless persons whom she filmed for another short film two years ago. While she accompanied a man in his final days, Jo searched within herself to resolve the original sin of the documentary filmmaker as a bystander to the suffering of others.

A story of Hong Kong told by three generations of real people: 'preschooled' children, 'preoccupied' young people, and 'preposterous' senior citizens.

Johnnie got his gun is a mix of interview snippets with To, these are taken from various sources and are cobbled together with clips from including Breaking news, P.T.U and The Mission amongst others. It seems Montmayeur did do an interview but it's so chopped up and mixed in it feels insignificant. Prominent members of casts and crew also feature in interview form but again from many different times and sources.

Four years later, Hong Kong’s 2014 democratic Umbrella Movement has been nominated for a Nobel Peace Prize, yet political backlash against protesters has intensified. Repeatedly the target of censorship*, Raise the Umbrellas traces the lineage of the massive Hong Kong protest to the global Occupy movement, 1989 Tiananmen, and its democratic struggles since British colonial days. Highlights range from the Umbrella Movement’s eco-awareness and its burgeoning aspiration for independence, to its empowerment of women -- “umbrella mothers” -- and the rainbow-bridging activism of LGBTQ iconic artists. Incisive and intimate, driven by stirring on-site footage in a major Asian metropolis riven by protest, Umbrellas includes anti-Occupy views that lay bare the sheer political risk for post-colonial Hong Kong’s universal-suffragist striving to define its autonomy within China.

The music documentary “L.O.V.E. in F.R.A.M.E.S.” is directed by Cheung Kit Bong, one of the backing vocalists of DUO band. It captures the behind-the-scenes of the “DUO Eason Chan Concert” between 2010 and 2012 and the making of the album “L.O.V.E.” in England, Guangzhou and Hong Kong over six years. The two-year “DUO Eason Chan Concert” is a tour of 66 concerts. During the tour, all members of the DUO band turned from strangers to friends, they have even become indispensable partners of each other. This two-hour documentary is all about capturing and sharing the loving memories of the DUO band with the audience.

The film charts the origins of the Umbrella Movement through the eyes of the activists and ordinary people who made it happen. From the June 4th Candlelit Vigil until September 28th, this documentary puts us at the heart of the action, allowing us to experiencing the highs and lows of that remarkable summer, when Hong Kong witnessed a "blossoming of democracy."

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.

In such a difficult situation in Hong Kong agriculture, to local farmers, before expecting a good harvest, they have to first overcome the problems caused by agricultural policy implementation, land policy and urban development in Hong Kong. This film is about three middle-aged local organic farmers and their farming stories: A peasant leader, who faces political infiltration in organization, decides to quit and focuses on his farming; a rural woman who fights against North East New Territories development plan and taking care of her sick husband at the same time, decides to combine family life with her home farming; a sixty years old truck driver who decides to have a career change, trying to live a fearless and free life as a farmer.

A Hong Kong documentary directed by Oscar winner Ruby Yang, chronicles the trials and tribulations of a group of under-privileged middle school students as they undergo six months of vigorous training to produce a musical on stage.

Weaving together footage filmed and broadcast by little-known Chinese live-streaming anchors, who struggle with real-life face-to-face social interaction because of their identity, disability and social-economic status, this cinematic collage explores how individuals satisfy their cravings for human connection through virtual togetherness, and how these virtual relationships challenge standard definitions of companionship.

No matter how quickly or far the times move forward, some people and some events will always be remembered by someone. June Fourth has yet to be redressed, rights activists have disappeared, and justice for indigenous peoples remains convoluted and slow. All these injustices bring sorrow. Yet, they refuse to give up; they keep thinking, acting, connecting with like-minded people, and creating alternative spaces in the land where they live. A one-party wall stands before them, making each step difficult; even with party alternation, nothing is guaranteed. They all know this. In these dark times, they join hands and move forward together, often very slowly, very slowly. Perhaps, one day, they will meet each other.

This is Hong Kong. This is Malaysia. This could be any corner of the world. Perhaps we’ve met; perhaps never. Sometimes life glows; sometimes, nothing happens. On the journey of life, we endure, we refuse. Most of the time, we only want to do a bit more, to bring modest changes to the status quo. “Me, my city or somewhere else” documents the thoughts, inner conflicts and choices of five Hong Kong and Malaysian activists at some stages of their lives.

A documentary about writer and novelist Liu Yichang.

In a convenience store, the door of the storage room is a two-way mirror, reflecting a romantic story of love at first sight.

Behind Mongkok’s Portland Street where French music plays in cute little artsy cafés, the back alley is a totally different world. Sister Kam washes dishes in the alley every night. She fights with the workers at the rubbish collection point and proudly boasts to the waiters how she could slaughter a pig on her own. She works till midnight and gets up at 5:30am, day after day. In the thousands of alleys in Hong Kong, stories that speak of life’ struggles wait to be told.

Every three months, a Chinese single mother, Xue takes a 10-hour-journey from Hong Kong to her hometown in Fujian, China with one hand dragging her heavy luggage and another hand holding her child. She has to extend her visiting visa to stay with her family, which migrated to Hong Kong when she was 8. In 1980s, the Chinese local government would let the family migrate except one child, so they would send money back. The tragic starts from here.

The film portrays 13 female villagers and students engaged in anti-development movement in 2010 and 2011 to recount a beautiful story of transformation, solidarity, and courage.

In the aftermath of 2014's Umbrella Revolution, five Hong Kong activists are confronted with the question of what it means to be Hong Kongers.

The film traces the rise of one of the world's premier architects, Norman Foster, and his unending quest to improve the quality of life through design.

Franco Mella is a devoted figure whose life bridges Catholicism and Communism. He has journeyed through Asia, lived simply, and fought for social justice, notably within Hong Kong's protest history as depicted in "Ordinary Heroes" (1999). Mella's path weaves through religious and revolutionary movements, from church beginnings to Communist activism and the Handover, always driven by his missionary spirit and communist ideals. For four decades, he has steadfastly championed the oppressed, undeterred by shifting politics, expressing solidarity through music and protest, and remaining a symbol of wisdom and resilience for the people of Hong Kong.

Fukushima used to be a wonderful place. Unfortunately, since March 11, 2011, "Fukushima" has been superseded by another name: Nuclear Disaster Zone. Six years have passed, but over 80,000 Fukushima residents still cannot return home, still cannot return to their former lives. How did they get through it? Reconstruction work is slow. Several years on, surrounding the site of the Fukushima nuclear incident, there remain many refuge-seeking residents whose homes are still in lockdown. In the streets, people are taking it to their own hands to save their communities. Psychologically and practically, how does one rebuild? Does the civil society's self-rescue mission conclude in recovering what was lost, or in reviving an even better community? In their eyes, what is "revival"? What is the meaning of "rebirth"? Our crew went all over the coastal areas of Fukushima, recording stories of residents each finding their own ways to save themselves.