An absentee father and his bipolar son are forced to live together as they struggle with a recent family tragedy. The tension and anxiety boil as they live and try to cope in a tiny apartment. As time passes, they realize their shared pain is not their only source of grief, as they find the outside world is a cruel and unjust place.
On a night just like any other, a minibus full of passengers drives through a tunnel and arrives in another dimension; the eclectic group of passengers seek refuge in a deserted cafe and make a horrific discovery.
After his attempted robbery runs aground, a thief takes a shine to his would-be victim, a charming prostitute, who begins to tell him her life story.
Sisters moving from Hunan to Hong Kong in the 1990s are faced with an identity crisis, poverty, and their father's drug addiction.
Five shorts reveal a fictional Hong Kong in 2025, depicting a dystopian city where residents and activists face crackdowns under iron-fisted rule.
From director Philip Yung comes another gripping true-crime drama, this time inspired by the shocking 2010 case of a 15-year-old boy who murdered his mother and sister. Nin Yuen returns to his cha chaan teng, haunted by memories of a once-happy family: his wife preparing breakfast, his son playing video games, and his daughter caring for their calico cat. Yuen finds himself unable to hate the living or forget the dead. As they confront life’s cruelty, will Yuen and his son’s strained relationship ever find redemption?
Lok is a recovering schizophrenic who yearns for love. One day, he encounters the young and beautiful Yan and quickly falls in love with her. The pair develops a relationship that is beyond their wildest dreams.
A paralysed and hopeless Hong Kong man meets his new Filipino carer, who has put her dream on hold and come to the city to earn a living. These two strangers live under the same roof through different seasons. As they learn more about each other, they also learn more about themselves. Together, they learn about how to face the different seasons of life.
A mainland Chinese filmmaker, exiled to Hong Kong for her politically-charged work, reunites with her mother on a trip to Taiwan.
Inspired by the true story of Hong Kong’s first teenage baseball team. In the 1980s, two childhood friends join the Shatin Martins, a Band 3 school baseball team managed by the school principal. From these humble beginnings, the boys experience camaraderie, fall in love and make fateful decisions that resonate throughout their lives amid a changing Hong Kong and its sporting world.
The Kowloon Industrial District is home to many of Hong Kong’s artists, including rapper Heyo, YouTuber Alan, rising star Hana, and dancer. However, the government is preparing the area for gentrification. The group from ‘The Way We Dance’ were invited to participate in a publicity stunt to transform the district into a ‘Dance Street’. Alan points out that this is an opportunity to garner support from the public. Meanwhile, Heyo’s master Afuc is planning a revolution.
The financial analysis of a Chinese IT firm has been stolen, and a senior executive at the investment bank that wrote it must pay a ransom before the confidential report is released to the public. However, eyebrows are raised when the thieves ask for a surprisingly low amount for the ransom. What are the thieves really after?
Making a living from selling cheap wedding supplies doesn't free Fong from pressure to marry. She's been pushed beyond limits by unaffordable housing, archaic customs, and intrusive in-laws since engagement. More worrying is the comeback of a mainlander she's supposed to divorce out of a sham marriage.
Mrs. Wong knows her husband is carrying on an affair, but for the sake of their marriage and autistic son, she has chosen to silently endure. However, the mistress comes to disturb them, and in the end, Mr. Wong leaves home after a fight. Feeling at a loss and struggling to watch over her son by herself, Mrs. Wong begins to plot ways to take revenge against the mistress, but her plans get discovered by other housewives.
Everyphone Everywhere’s cross-cutting narrative brings together a large set of players within the mobile-communications theme. First there’s designer Chung Chit (Endy Chow), who rushes to catch a ferry and leaves his phone at home. There’s no time to retrieve the device, so he tries to soldier on without it – and the results are eye-opening. Eventually, he’ll need to call his wife Ivy (Cecilia Choi) to awkwardly help him out. Meanwhile, soon-to-emigrate middle manager Raymond Ho (Peter Chan) starts his day with his WhatsApp account hacked and frozen. Broken contacts aside, his big fear is exposure of shady workplace practices and possible blackmail or arrest. Then there’s Ana (Rosa Maria Velasco), an old classmate of theirs who’s waiting in a private kitchen and getting odd messages. And all the time a young lady, Yanki (Amy Tang), and a nerdy computer wiz (Henick Chou) are busy using messaging apps for sleazy purposes.
Chi is a lousy real estate agent who muddles through life. Growing up, his mother has always told him to lead a simple life, until he reunites with his primary school P.E. teacher, Mr Wong. Mr Wong, who’s been increasingly ill, wants to keep his promise to his late wife to finish a 10k race; At the same time, his student, an overweight student called Tin Sum aims to finish her first ever 5k race just so she can run with her idol. As Mr Wong and Tin Sum fight for their goals, Chi, discouraged, stands at a crossroad and roams aimlessly in life. Until one day, memories from 20 years ago light up Chi’s world. For once in his life, Chi swears to cheer himself on.
In 2011, Lai Chi-wai – one of the top rock climbers in Asia – lost everything when a motorcycle accident took away his ability to walk. Rather than succumbing to his fate, Lai found his own way of scaling those dizzying peaks again.
Jing’s day begins with a graceful tracking shot that follows her from the early morning as she pumps breast milk, leaves her baby with her mother-in-law, and heads to the bakery where she works. Her baby daughter Qing is difficult and cries constantly and Jing frequently clashes with her live-in in-laws over childcare and housework, while her husband, who works as a delivery driver, views parenting as something he occasionally helps with. All she did was have a child, yet Jing’s life is turned upside down, leaving her in a situation where all her efforts to build her career have been negated. Director Oliver Siu Kuen Chan meticulously dissects Jing’s struggles, revealing the emotional turbulence she endures. The film’s realistic and precise narrative depicts the suffocating oppression women suffer within both family and society, the pressures of ‘being a mother’ and ‘motherhood,’ and resolutely move forward, forcing Jing to make a final decision.
