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Action, Hong Kong Style

Action, Hong Kong Style

6 September – 8 November 2013

‘Action Hong Kong Style’ presented in partnership with Hong Kong Economic & Trade Office 

Celebrating unique popular action genres, 'Action, Hong Kong Style' is a landmark retrospective of 70 films that traces the genesis of Hong Kong's highly influential action cinema. The program ranges from early wuxia swordplay films with their Chinese opera roots to the Shaw Brothers and the new kung fu cinema of the late 1960s and 1970s, to the 'bullet ballet' of the 1980s and 1990s associated with John Woo and Johnnie To, and beyond to the present day. It profiles cult films and figures such as Bruce Lee, Jackie Chan, Chow Yun Fat and Sammo Hung, as well as showcasing lesser known films and actors who deserve broader recognition. A special focus will be presented on Wong Fei-hung, the historical martial arts hero whose life has been more often adapted to film than any comparable figure. Recent cinematic attention to wing chun master Ip Man is also profiled through the inclusion of a number of high-impact features.

'Action, Hong Kong Style' points to the extraordinary reach of signature Hong Kong styles and stars worldwide. This in-depth curated program offers audiences a rare opportunity to appreciate spectacular action choreography and breathtaking physical feats on the big screen, and features recent digital restorations, as well as archival and distributor film prints from around the world.  

Special event: ‘Action, Hong Kong Style’ discussion

Thu 24 Oct 6.00pm / Cinema A (60 mins)
Join film specialists Sam Ho (United States/Hong Kong) and Professor Mary Farquhar (Australia), together with ‘Action, Hong Kong Style’ curator Kathryn Weir, Head of International Art and the Australian Cinémathèque, in a lively discussion exploring critical approaches to Hong Kong’s unique action cinema styles. Free, no bookings required.

Tickets on sale now.

Adult $9 | 5-film pass $36
Concession $7 | 5-film pass $28
Members+ $6 | 5-film pass $24
Purchase in advance through qtix or at the GOMA Box Office from one hour prior to film screenings^* Booking fees apply ^ Subject to availability
+ Discount available to Gallery Members and Foundation Members

A 5-film pass entitles you to either 5 tickets to one film screening or a ticket to 5 different films. All 5 films must be chosen at the time of purchasing a 5-film pass.  

Presenting partner:

Hong Kong Asia's World City

 
The Gallery’s Australian Cinémathèque thanks the Hong Kong Film Archive, Hong Kong; the Chinese Taipei Film Archive, Taiwan; and National Film and Sound Archive, Australia, Canberra for providing film prints, and Sam Ho for advising of the gorilla action titles.

NFSA        HKFA       Audi GOMA Bar


FILM PROGRAMS

Once Upon a Time in China II 1992 M

THE ORIGINAL ACTION HERO: WONG FEI-HUNG

Southern Chinese folk hero, doctor and master of hung gar kung fu Wong Fei-hung (1847–1924) has been celebrated in over 100 films since Wu Pang’s 1949 The True Story of Wong Fei-hung introduced this larger-than-life figure into the cinema.

King Kong’s Adventures in the Heavenly Palace 1959 Ages 15+

BIG APE DOUBLE

Kung-fu legend Wong Fei-hung up against a gorilla? Not to mention King Kong turning up in the Celestial Palace. This surprising furry flurry of gorilla action may be accounted for by the persistent popularity of the original 1933 King Kong in Asia, which would culminate — two years after Wong Fei-hung's gorilla encounter — in Toho Studios' hugely successful King Kong vs. Godzilla 1962.

Come Drink With Me 1966 PG

SHAW BROTHERS AND 'NEW SCHOOL' WUXIA

From the mid 1960s, the Shaw Brothers studio was the leading producer of 'new school' Mandarin wuxia films of martial chivalry and swordplay, that moved towards realism, and away from the fantasy elements of earlier mainland 'sword and sorcery' films, as well as Hong Kong-produced Cantonese wuxia serials. They also distinguished themselves from the stagey action of the low-budget Wong Fei-hung kung-fu films.

The Five Venoms 1978 M

CHANG CHEH (1923–2002)

Chang Cheh, one of the most celebrated Shaw Brothers directors in the 1960s and 1970s, is known for his yang gang staunchly masculine world of brutal violence and male bonding. John Woo, who worked with him as an assistant director on a number of films, identifies Chang as a key influence in the development of his own style of choreographic gunplay in the company of men.

Dragon Inn 1967 PG

KING HU (1932–97)

King Hu is celebrated for his precisely choreographed and finely paced wuxia films which reinvigorated the xia nu, or courageous heroine, found in Chinese opera. On contract with the Shaw Brothers from the late 1950s, his first wuxia film and second film as director, Come Drink With Me 1966, brought him immediate recognition. The director left Shaw Brothers shortly afterwards and moved to Taiwan seeking greater creative freedom.

Enter the Dragon 1973 MA15+

BRUCE LEE (1940–73)

The 'kung-fu craze' of the early to mid 1970s is synonymous with Bruce Lee, the first international martial arts superstar. The emphasis was on 'real fighting' and actors who had real martial arts training, typified by Lee who first studied wing chun kung-fu as a youth with master Ip Man, and later developed his own fighting style, with spectacular kicks developed from French savate and muay thai. Lee's fast, aggressive onscreen action was unlike anything audiences had seen, and — combined with his extraordinary onscreen magnetism — turned him into a global kung-fu cinema icon.

Legendary Weapons of China 1982 PG

LAU KAR-LEUNG (1934–2013)

The endlessly inventive and adaptable Lau Kar-leung began as an action director in the early 1960s, having studied hung kuen kung fu with his father, actor Lau Chan, himself a student of a disciple of Wong Fei-hung. Lau Kar-leung’s films are marked by a deep concern with authenticity. 

The Man from Hong Kong 1975 MA15+

JIMMY WANG YU (b.1943)

After his success in One-Armed Swordsman 1967, Jimmy Wang Yu transitioned from swordplay in Chang Cheh’s ultra-violent Shaw Brothers wuxia films to unarmed kung-fu hero in his own directorial efforts. He transforms again to slick Bond-style supercop in the Hong Kong–Australian co-production The Man from Hong Kong.

Ashes of Time Redux 1994/2008 M

TSUI HARK (b.1950) AND NEW WAVE WUXIA

With The Blade, Tsui Hark — a veteran of wuxia cinema  — viscerally revisits a Shaw Brothers classic, Chang Cheh’s One-Armed Swordsman. In Last Hurrah for Chivalry and Ashes of Time Redux, John Woo and Wong Kar-wai — better known respectively for 'bullet ballet' triad films and stylish meditations on romantic longing — have each turned their hand to the period wuxia film with remarkable results. Wong Kar-wai returns to the wuxia genre in his latest film about wing chun master Ip Man, The Grandmaster 2013, soon to be released in Australia.

The Magic Blade 1976 M

CHOR YUEN (b.1934)

Chor Yuen moved from a successful career directing Cantonese melodramas and comedies in the 1960s to Mandarin martial arts cinema in the 1970s, when he introduced surreal and mysterious elements.

A Better Tomorrow 1986 R18+

JOHN WOO (b.1946)

Mentored by Shaw Brothers director Chang Cheh, John Woo pioneered the Hong Kong style of visually stunning ‘bullet ballet’. Like Chang, he depicts uniquely male worlds of honour, loyalty and violence. Woo also cites influences as diverse as the French New Wave, Japanese cinema, Westerns and musicals.

The Mission 1999 Ages 18+

JOHNNIE TO (b.1955)

Recognised internationally as one of the most singular voices in the action genre today, Johnnie To came to attention with his tightly constructed crime films that cite John Woo, but resist sentimentality or moralising. He exploits conventions established by his predecessors to create extreme statements characterised by a self-consciousness that sometimes leads him to the edge of parody.

Snake in the Eagle’s Shadow 1978 Ages 15+

KUNG FU COMEDY

A new genre of kung-fu comedy emerged in the late 1970s that demythologised the hero and parodied notions of martial virtue and loyalty. Jackie Chan's exhilarating physical slapstick was central to this development; his breakthrough film was Snake in the Eagle's Shadow 1978. The celebrated Lau Kar-leung also masterfully blended comedy and action, notably in Dirty Ho 1979, while Sammo Hung moved to comedy in the 1980s. Stephen Chow's films from the 1990s onwards have been vital to the ongoing success of this genre.

Full Contact 1992 Ages 18

RINGO LAM (B.1954)

After dabbling in comedy and directing the fourth instalment of the ‘Aces Go Places’ series, Ringo Lam found his stride with City on Fire 1987, a dark police thriller which set the tone for his mature work. Lam's nihilistic vision blurs the lines between good and bad, hero and villain. Full Contact 1992 went even further, portraying a lawless, out-of-control world ruled only by violence and the quest for revenge. Lam's gritty, masterful action thrillers reached their apogee with Full Alert 1997.

Ip Man 2 2008 M

THE NEW ACTION HERO: IP MAN

Ip Man (1893–1972), a grandmaster of wing chun, has become the new action hero of Hong Kong cinema through a proliferation of recent films. After living through the Japanese occupation and civil war in China, in 1949 he fled with his family to Hong Kong where he struggled to set up a martial arts school and eventually taught Bruce Lee. His biography has since been transformed into modern epic.


FILM LISTING

黃飛鴻正傳 (Huang Fei-hong Zhuan: Bian Feng Mie Zhu) (The True Story of Wong Fei-hung, Part One) 1949 All ages

黃飛鴻正傳 (Huang Fei-hong Zhuan: Bian Feng Mie Zhu) (The True Story of Wong Fei-hung, Part One) 1949 All ages

Sat 7 Sep 2.00pm / Cinema A

35MM, BLACK AND WHITE, MONO, 72 MINUTES, HONG KONG, CANTONESE (ENGLISH SUBTITLES) / DIRECTOR: WU PANG / ACTION DIRECTOR: LEUNG WING-HANG / PRODUCER: CHEUNG TSOK-HONG / SCRIPT: NG YAT-SIU / BASED ON THE STORY BY CHU YU-CHAI / CAST: KWAN TAK-HING, TSO TAT-WAH, LEE LAN / PRODUCTION COMPANY: YONGYAO FILM COMPANY / PRINT SOURCE: HONG KONG FILM ARCHIVE / RIGHTS: KONG CHIAO FILM COMPANY

Where early wuxia martial arts films incorporated elements of fantasy, The True Story of Wong Fei-hung, Part One marks the beginning of the modern kung-fu genre with its more realistic depiction of combat and its emphasis on technique modelled on actual southern martial arts styles. Cantonese opera star Kwan Tak-hing went on to play Wong Fei-hung in more than 100 feature films and episodes of television series.

黃飛鴻獅王爭霸 (Wong Fei-hung, King of Lion Dance) 1957 All ages

黃飛鴻獅王爭霸 (Wong Fei-hung, King of Lion Dance) 1957 All ages

Sat 7 Sep 3.45pm / Cinema A

35MM, BLACK AND WHITE, MONO, 72 MINUTES, HONG KONG, CANTONESE (ENGLISH SUBTITLES) / DIRECTOR: WU PANG / PRODUCER: CHEUNG CHUNG-CHUK / SCRIPT: WONG FUNG / CINEMATOGRAPHER: YU KAM-LUN / EDITOR: SUNG MING / CAST: KWAN TAK-HING, WALTER TSO TAT-WAH, YAM YIM / PRODUCTION COMPANY: JIN’GANG FILM COMPANY / PRINT SOURCE: HONG KONG FILM ARCHIVE / RIGHTS: KONG CHIAO FILM COMPANY /SCREENING FORMAT: DIGITAL BETACAM

One of Wong Fei-hung's disciples intervenes when members of a gang bully a boatman. The gang continues to misbehave, breaking up a dumpling shop, and a lion dance contest provides the opportunity for Wong Fei-hung to give a lesson in etiquette.

猩猩王大鬧天宮 (Sing Sing Wong Daai Naau Tin Gung) (King Kong’s Adventures in the Heavenly Palace) 1959 Ages 15+

猩猩王大鬧天宮 (Sing Sing Wong Daai Naau Tin Gung) (King Kong’s Adventures in the Heavenly Palace) 1959 Ages 15+

Sun 3 Nov 1.00pm / Cinema A

35MM, BLACK AND WHITE, MONO, 95 MINUTES, HONG KONG, CANTONESE (ENGLISH SUBTITLES) / DIRECTOR/ACTION DIRECTOR: WU PANG / PRODUCER: WONG MAN-YING / SCRIPT: LO LING / CINEMATOGRAPHER: LEUNG HUNG / CAST: KWAN TAK-HING, TSO TAT-WAH, LAM KAU / MUSIC: WONG CHE-SI / PRODUCTION COMPANY: YAU YEE FILM COMPANY / PRINT SOURCE: HONG KONG FILM ARCHIVE / RIGHTS: KONG CHIAO FILM COMPANY / SCREENING FORMAT: DIGITAL BETACAM

King Kong escapes to earth from the celestial zoo and goes on a rampage in human form (with the shape-changing assistance of a divine charm). As Kong leaves death and destruction in his wake, Qing official Cheung Chungkai pleads with the gods to deal with him — but to no avail, until finally the Goddess of Mercy steps in to sort out the beast, and then the neglectful immortals.

猩猩王大戰黃飛鴻 (Sing Sing Wong Daai Zin Wong Fei-Hung) (Wong Fei-Hung’s Battle with the Gorilla) 1960 Ages 15+

猩猩王大戰黃飛鴻 (Sing Sing Wong Daai Zin Wong Fei-Hung) (Wong Fei-Hung’s Battle with the Gorilla) 1960 Ages 15+

Sun 3 Nov 3.00pm / Cinema A

35MM, BLACK AND WHITE, MONO, 95 MINUTES, HONG KONG, CANTONESE (ENGLISH SUBTITLES) / DIRECTOR/ACTION DIRECTOR: WU PANG / PRODUCER: LEE DIK-FAAN / SCRIPT: LO LING / CINEMATOGRAPHER: LEUNG HUNG / CAST: KWAN TAK-HING, HSIANG-FAN LIN / MUSIC: WONG CHE-SI / PRODUCTION COMPANIES: FRIENDSHIP FILMS, XIANGGANG FILM STUDIO / PRINT SOURCE: HONG KONG FILM ARCHIVE / RIGHTS: KONG CHIAO FILM COMPANY / SCREENING FORMAT: DIGITAL BETACAM

Wong Fei-hung and his disciples hear that a small village is being terrorised by a ferocious gorilla. It turns out that the beast is actually a small-time crook in a gorilla suit under the orders of a precious metal smuggler who wants to intimidate the villagers. The crook takes advantage of his disguise to abduct a beautiful girl and escape to the mountains, but has a surprise in store for him. Just how many gorillas are loose in them there hills?

大醉俠 (Da Zui Xia) (Come Drink With Me) 1966 PG

大醉俠 (Da Zui Xia) (Come Drink With Me) 1966 PG

Fri 13 Sep 6.00pm / Cinema A

35MM, COLOUR, MONO, 95 MINUTES, HONG KONG/TAIWAN, MANDARIN (ENGLISH SUBTITLES) / DIRECTOR/SCRIPT: KING HU / ACTION DIRECTORS: HAN YING-CHIEH, SAMMO HUNG KAM-BO / PRODUCER: RUN RUN SHAW / CINEMATOGRAPHER: HO LAN SHAN/ EDITOR: CHIANG HSING-LUNG / CAST: ZHENG PEIPEI, ELLIOT YUEH HUA, CHEN HUNG-LIEH / MUSIC: EDDIE H. WANG CHI-REN, ZHOU LAN-PING / PRODUCTION COMPANY: SHAW BROTHERS / PRINT SOURCE/RIGHTS: © LICENSED BY CELESTIAL PICTURES LIMITED. ALL RIGHTS RESERVED.

‘Handsome warrior Golden Swallow effortlessly wards off an attack by gangsters at a country inn . . . the stage is set for a typically dazzling and elegant film by King Hu in which nothing is what it seems. For starters, Golden Swallow is the governor's daughter, on a mission to rescue her kidnapped brother. She is played by Zheng Peipei, one of the most distinguished martial arts actresses of her time. Critic Stephen Teo has convincingly argued that Come Drink With Me is a pivotal transitional film from the fantasy-driven martial arts films common in the 1960s towards the more realistic, harder-edged films to come.’ UCLA Film and Television Archive

獨臂刀 (Du Bi Dao) (One-Armed Swordsman) 1967 M

獨臂刀 (Du Bi Dao) (One-Armed Swordsman) 1967 M

Sat 14 Sep 1.00pm and Sun 22 Sep 1.00pm / Cinema A

35MM, COLOUR, MONO, 111 MINUTES, HONG KONG, MANDARIN (ENGLISH SUBTITLES) / DIRECTOR: CHANG CHEH (ZHĀNG CHÈ) / ACTION DIRECTORS: LAU KAR-LEUNG, TONG GAI / PRODUCER: RUNME SHAW / SCRIPT: NI KUANG, CHANG CHEH / CINEMATOGRAPHER: YUAN CHEN-SAN / EDITOR: KEUNG HING-LUNG / CAST: JIMMY WANG YU, CHIAO CHIAO, PAN TIN-TZE / MUSIC: WANG FU-LING / PRODUCTION COMPANY: SHAW BROTHERS / PRINT SOURCE/RIGHTS: © LICENSED BY CELESTIAL PICTURES LIMITED. ALL RIGHTS RESERVED.

‘In Chang Cheh's riveting revenge thriller, hero Fang Gang, played with sullen charisma by Jimmy Wang Yu, is an orphaned "scholarship student" at a martial arts academy, a resentful commoner persecuted by the sneering gentry. He endures bullying stoically, until his sifu's spoiled daughter spies the muscular peasant chopping wood, shirtless and gleaming. Infuriated by her own desire, she ends up lopping off one of his arms. (You don’t have to be a psychoanalyst to parse the symbolism.) During a sojourn in the wilderness, Gang masters the unfamiliar art of fighting left-handed and returns home to trounce his astonished enemies. Even in its visual details the film announces the arrival of a new kind of hero: Wang Yu wears simple, functional clothing modeled on the dusty homespun of the samurai (especially Zatoichi) films that inspired director Zhang and screenwriter Ni Kuang, while his snooty persecutors sport layered sword-dude outfits trimmed with animal fur, like those worn by the stalwart prigs in conventional wuxia B pictures.’ David Chute, UCLA Film and Television Archive

龍門客棧 (Long Men Ke Zhan) (Dragon Inn) 1967 PG

龍門客棧 (Long Men Ke Zhan) (Dragon Inn) 1967 PG

Sun 15 Sep 11.00am / Cinema A

35MM, COLOUR, MONO, 111 MINUTES, TAIWAN, MANDARIN (ENGLISH SUBTITLES) / DIRECTOR/SCRIPT: KING HU / ACTION DIRECTOR: HAN YING-CHIEH / PRODUCER: SHA YUNG-FONG / CINEMATOGRAPHER: HUA HUIYING / EDITOR: CHENG HUNG-MIN / CAST: POLLY SHANG KUAN, BAI YING, CAO SHAOQIN / MUSIC: ZHOU LANPING / PRODUCTION COMPANIES: UNION FILM COMPANY, SHAW BROTHERS / PRINT SOURCE/RIGHTS: CHINESE TAIPEI FILM ARCHIVE

'A rousing period tale about a heroic trio who defy the ruthless secret security forces of a corrupt despot to protect a family of political exiles. The painstaking recreation of Ming dynasty costumes and settings circa 1450 adds a new element of authenticity. King Hu times the fluid dance of Han Yingjie’s action choreography to the percussive syncopation of Beijing opera. A huge hit across Asia, Dragon Inn firmly established King Hu as a master of the emerging “new school” wuxia film, and later became a touchstone of the subgenre’s revival when Tsui Hark paid direct homage to it in his 1992 remake.’ Paul Malcolm, UCLA Film and Television Archive

金燕子 (Jin Yan Zi) (Golden Swallow) 1968 Ages 18+

金燕子 (Jin Yan Zi) (Golden Swallow) 1968 Ages 18+

Fri 13 Sep 8.00pm / Cinema A

35MM, COLOUR, MONO, 89 MINUTES, HONG KONG/JAPAN, MANDARIN (ENGLISH SUBTITLES) / DIRECTOR: CHANG CHEH (ZHĀNG CHÈ) / ACTION DIRECTORS: LAU KAR-LEUNG, TONG GAI / PRODUCER: RUNME SHAW / SCRIPT: CHANG CHEH, TU YUN-CHIH / CINEMATOGRAPHER: PAO HSUEH-LI / EDITOR: CHIANG HSING-LUNG / CAST: JIMMY WANG YU, ZHENG PEIPEI, LO LIEH / MUSIC: WANG FU-LING / PRODUCTION COMPANY: SHAW BROTHERS / PRINT SOURCE/RIGHTS: © LICENSED BY CELESTIAL PICTURES LIMITED. ALL RIGHTS RESERVED. / SCREENING FORMAT: DIGITAL BETACAM

‘A nominal sequel to King Hu's Come Drink With Me, Golden Swallow takes its title from the heroine of Hu's film, but, in line with director Chang Cheh's proclivity for male-centered stories, reorients the plot around a tormented swordsman, Silver Roc, portrayed by Chang stalwart Jimmy Wang Yu. A prototype for the conflicted male antiheroes that would dominate virtually all of Chang's subsequent films, Silver Roc is a psychologically complex figure, drawn to violence and driven by a death wish, while at the same time possessed of a poetic sensibility and powerful romantic yearnings. In Chang's characteristically tragic scheme, these warring tendencies inevitably bring about the warrior's downfall.’ UCLA Film and Television Archive

龍虎鬥 (Long Hu Dou) (The Chinese Boxer) 1970 Ages 15+

龍虎鬥 (Long Hu Dou) (The Chinese Boxer) 1970 Ages 15+

Sat 28 Sep 1.00pm / Cinema A

35MM, COLOUR, MONO, 90 MINUTES, HONG KONG, MANDARIN (ENGLISH SUBTITLES) / DIRECTOR/SCRIPT: JIMMY WANG YU / ACTION DIRECTOR: TONG GAI / PRODUCER: RUNME SHAW / CINEMATOGRAPHER: HUA SHAN / EDITOR: CHIANG HSING-LUNG / CAST: JIMMY WANG YU, LO LIEH, WANG PING / MUSIC: EDDIE H WANG CHI-REN, WANG FU-LING PRODUCTION COMPANY: SHAW BROTHERS / PRINT SOURCE/RIGHTS: © LICENSED BY CELESTIAL PICTURES LIMITED. ALL RIGHTS RESERVED. / SCREENING FORMAT: DIGITAL BETACAM

The Chinese Boxer was the first feature film Jimmy Wang Yu directed and starred in at Shaw Brothers. It is credited with kicking off the unarmed combat genre that brought us Bruce Lee. Wang Yu blatantly copies the Spaghetti Western genre in terms of plot development and music, and delivers a classic story of two competing martial art schools, a thrashing, and the honing of skills for a final showdown.

報仇 (Bao Chou) (Vengeance!)  1970 M

報仇 (Bao Chou) (Vengeance!) 1970 M

Sat 14 Sep 3.15pm and Sun 6 Oct 1.00pm / Cinema A

35MM, COLOUR, MONO, 98 MINUTES, HONG KONG/CHINA, MANDARIN (ENGLISH SUBTITLES) / DIRECTOR: CHANG CHEH (ZHĀNG CHÈ) / ACTION DIRECTORS: TONG GAI, YUEN CHEUNG-YAN / PRODUCER: RUNME SHAW / SCRIPT: CHANG CHEH, NI KUANG / CINEMATOGRAPHER: YUKIO MIYAKI / EDITOR: CHIANG HSING-LUNG / CAST: DAVID CHIANG, TI LUNG, WANG PING / MUSIC: WANG FU-LING / PRODUCTION COMPANY: SHAW BROTHERS / PRINT SOURCE/RIGHTS: © LICENSED BY CELESTIAL PICTURES LIMITED. ALL RIGHTS RESERVED. / SCREENING FORMAT: DIGITAL BETACAM

‘Zhang Che transitioned from the swordplay sub-genre with this ultra-violent revenge drama set against the (relatively) modern backdrop of China's early republican period. David Jiang (David Chiang) and Di Long (Ti Lung)—Zhang's preferred pairing of heroes throughout the 1970s—star in their first film together: Di as a dignified Beijing opera performer whose murder at the hands of a corrupt local cabal launches his mysterious white-suited brother—a relentless, wraith-like Jiang—down the path of bloody retribution. Vengeance! heralded the rise of 1970s kung-fu and radically revised narrative and stylistic templates at the Shaw Brothers' studio. Even Bruce Lee paid homage to the white suit in Fist of Fury 1972. 

A somber, tragic paean to the notion of yang gang (staunch male honor), Vengeance! is energized by Zhang’s unfailingly inventive representation of violence. He combines expressive widescreen camera angles, dynamic editing and breathtaking use of slow motion to forge a stylized depiction of mayhem unrivalled outside Peckinpah’s valedictory Westerns. The film is awash in blood, bright red pools of it drawn mainly by daggers and hatchets, although firearms do put in a brief appearance—a first for Zhang, and perhaps the seed for his protégé John Woo’s later gunplay spectaculars. Indeed, Woo would pay explicit homage to Vengeance! in Hard-Boiled (1992), honoring specifically the unforgettable scene in which Di Long fights to his death against a horde of assassins. In this bravura sequence, Zhang intercuts Di Long’s final moments, punctuated by a blinding worthy of Oedipus, with the character’s equally dramatic, if highly stylized, performance of death onstage—a rare nod to Chinese Opera from a director who generally spurned classical tradition in favor of his own brand of “masculine” baroque.’ UCLA Film and Television Archive

俠女 (Xia Nu) (A Touch of Zen) 1971 Ages 15+

俠女 (Xia Nu) (A Touch of Zen) 1971 Ages 15+

Sun 15 Sep 1.30pm and Wed 25 Sep 6.00pm / Cinema A

35MM, COLOUR, MONO, 200 MINUTES, TAIWAN, MANDARIN (ENGLISH SUBTITLES) / DIRECTOR/SCRIPT: KING HU / ACTION DIRECTORS: HAN YING-CHIEH, POON YIU-KWAN / PRODUCER: YANG SHIH-CHING / CINEMATOGRAPHER: HUA HUIYING / EDITORS: KING HU, WONG CHUN-SAN / CAST: HSU FONG, SHIH CHUN, PAI YING / MUSIC: TAI KONG NG, TA CHIANG WU / PRODUCTION COMPANIES: UNION FILM, INTERNATIONAL FILM PRODUCTION / PRINT SOURCE/RIGHTS: CHINESE TAIPEI FILM ARCHIVE

‘Hu’s masterpiece is at once epic and intimate, fantastic and realist, action-packed and thought-provoking. Hsu Feng plays a fugitive hunted for her family’s crusade against corruption at the emperor’s court. Around her, the film arrays a host of characters who become involved in her struggle, building to a metaphysical conflict between worldliness and virtue. A Touch of Zen served as a model for Crouching Tiger, Hidden Dragon, a debt Ang Lee acknowledges by including an homage to the film’s famous fight in a bamboo grove.’ Harvard Film Archive

唐山大兄 (Tang Shan Da Xiong) (The Big Boss) 1971 M

唐山大兄 (Tang Shan Da Xiong) (The Big Boss) 1971 M

Fri 20 Sep 6.00pm and Sat 5 Oct 1.00pm / Cinema A

35MM, COLOUR, MONO, 100 MINUTES, HONG KONG, MANDARIN/CANTONESE (ENGLISH SUBTITLES) / DIRECTOR/SCRIPT: LO WEI / ACTION DIRECTOR: HAN YING-CHIEH / PRODUCER: RAYMOND CHOW MAN-WEI / CINEMATOGRAPHER: CHAN CHING-KUI / EDITOR: SUNG MING / CAST: BRUCE LEE SIU-LUNG, MARIA YI YI, JAMES TIN JUN / COMPOSER: WANG FU-LING / PRODUCTION COMPANY: GOLDEN HARVEST PRODUCTIONS / PRINT SOURCE/RIGHTS: © 2010 FORTUNE STAR MEDIA LIMITED. ALL RIGHTS RESERVED. / SCREENING FORMAT:DCP

‘The film that relaunched Bruce Lee's career in Hong Kong (he had been a child star in films of the 1950s before emigrating to the US) cast him as an improbably naive and innocent country boy who takes a job in an ice-packing plant in Thailand to send money back to his frail old mother in the New Territories. The plot turns on the usual themes of victimisation and fortitude (Lee's character is duped by his boss, who is a big-time heroin smuggler), but story is secondary to the breathtaking revelation of Lee's real-life martial skills and action choreographer Han Yingjie's witty elaboration of the fight scenes in terms of cartoon violence. Known as Fists of Fury in the US, The Big Boss was a sensational best-seller for Golden Harvest in the Cannes market in 1972 and it gave both Lee and producer Raymond Chow their first real tastes of international success.’ Tony Rayns, International Film Festival Rotterdam

精武門 (Jing Wu Men) (Fist of Fury) 1972 M

精武門 (Jing Wu Men) (Fist of Fury) 1972 M

Fri 20 Sep 8.15pm and Sat 5 Oct 3.00pm / Cinema A

35MM, COLOUR, MONO, 108 MINUTES, HONG KONG, MANDARIN/CANTONESE (ENGLISH SUBTITLES) / DIRECTOR/SCRIPT: LO WEI / ACTION DIRECTOR: HAN YING-CHIEH / PRODUCER: RAYMOND CHOW MAN-WAI / CINEMATOGRAPHER: CHRIS CHEN CHING-CHU / EDITOR: CHANG YAO-CHUNG / CAST: BRUCE LEE SIU-LUNG, NORA MIAO KER-HSIU, LEE QUIN / MUSIC: JOSEPH KOO KA-FAI / PRODUCTION COMPANY: GOLDEN HARVEST PRODUCTIONS / PRINT SOURCE/RIGHTS: © 2010 FORTUNE STAR MEDIA LIMITED. ALL RIGHTS RESERVED. / SCREENING FORMAT: DCP

‘A hyper-patriotic revenge fantasy that echoes the pro-Chinese, anti-foreign ideology of the original Wong Fei-hung films, Lee's Fist of Fury casts him as kung-fu prodigy Chen Zhen in Japanese-dominated 1930s Shanghai, who discovers that his former master's death was actually murder. Righteously enraged, he leaves his fiancée (Nora Miao) behind and declares a one-man war against the rival Japanese dojo responsible. Presenting Lee at his most ferociously pure, Fist of Fury is a foundational film of the modern martial arts cinema.’ TIFF Cinémathèque 

猛龍過江 (Meng Long Guo Jiang) (The Way of the Dragon) 1972 M

猛龍過江 (Meng Long Guo Jiang) (The Way of the Dragon) 1972 M

Sat 21 Sep 6.00pm and Wed 16 Oct 6.00pm / Cinema A

35MM, COLOUR, MONO, 100 MINUTES, HONG KONG, MANDARIN/CANTONESE/ENGLISH/ITALIAN (ENGLISH SUBTITLES) / DIRECTOR/ACTION DIRECTOR/SCRIPT: BRUCE LEE SIU-LUNG / ACTION DIRECTORS: BRUCE LEE SIU-LUNG, LITTLE UNICORN / SCRIPT: BRUCE LEE / PRODUCERS: BRUCE LEE, RAYMOND CHOW MAN-WAI / CINEMATOGRAPHER: HO LAN-SHAN / EDITOR: PETER CHEUNG YIU-CHUNG / CAST: BRUCE LEE SIU-LUNG, NORA MIAO KE-HSIU, NGAI PING-NGO / MUSIC: JOSEPH KOO KA-FAI / PRODUCTION COMPANIES: GOLDEN HARVEST PRODUCTIONS, CONCORD PRODUCTIONS INC. / PRINT SOURCE/RIGHTS: © 2010 FORTUNE STAR MEDIA LIMITED. ALL RIGHTS RESERVED. / SCREENING FORMAT: DCP

'The Way of the Dragon is the only film directed and written by Lee and expands on the themes of his earlier kung-fu flicks, such as the code of humility and a sense of national pride tinted with anger. Lee takes the action to Italy, the story culminating in a showdown staged at the Colosseum, its iconic, symbolic visage adding a mythic dimension.’ Hong Kong Film Archive

 十四女英豪 (Shi Si Nu Ying Hao) (The 14 Amazons) 1972 Ages 18+

十四女英豪 (Shi Si Nu Ying Hao) (The 14 Amazons) 1972 Ages 18+

Wed 18 Sep 6.00pm / Cinema A

35MM, COLOUR, MONO, 123 MINUTES, HONG KONG, MANDARIN (ENGLISH SUBTITLES) / DIRECTORS: CHENG KANG, CHARLES TUNG SHAO-YUNG / ACTION DIRECTORS: TONY CHING SIU-TUNG, LEUNG SIU-CHUNG / PRODUCER: RUN RUN SHAW / SCRIPT: CHING GONG / CINEMATOGRAPHER: CHARLES TUNG SHAO-YUNG / EDITORS: CHIANG HSING-LUNG, FAN KUNG-MING / CAST: LISA LU YAN, IVY LING PO, LILY HO LI-LI / MUSIC: WANG FU-LING, ZHOU LAN-PING / PRODUCTION COMPANY: SHAW BROTHERS / PRINT SOURCE: AMERICAN GENRE FILM ARCHIVE / RIGHTS: © LICENSED BY CELESTIAL PICTURES LIMITED. ALL RIGHTS RESERVED. 

‘During the Song dynasty in the thirteenth century, the Yang warriors are betrayed and massacred by the Mongolian army. Fourteen wives and relatives amass a huge army to seek revenge, resulting in a relentless onslaught of kung-fu action and feats of physical prowess, including the infamous “human bridge” sequence, in which actors and stuntmen formed a human platform for the Yang warriors to cross. The 14 Amazons was the last big-budget Shaw Brothers epic. Released in the same year as Bruce Lee’s Fist of Fury, it was the fourth most watched film that year, and received an avalanche of critical praise and awards.’ King-Wei Chu, FantAsia Film Festival

 馬永貞 (Ma Yong Zhen) (The Boxer from Shantung) 1972 Ages 18+

馬永貞 (Ma Yong Zhen) (The Boxer from Shantung) 1972 Ages 18+

Sat 14 Sep 6.00pm / Cinema A

35MM, COLOUR, MONO, 94 MINUTES, HONG KONG, MANDARIN (ENGLISH SUBTITLES) / DIRECTORS: CHANG CHEH (ZHĀNG CHÈ), PAO HSUEH-LI / ACTION DIRECTORS: LAU KAR-LEUNG, LAU KAR-WING, CHAN CHUEN, TONG GAI / PRODUCER: RUNME SHAW / SCRIPT: CHANG CHEH, NI KUANG / CINEMATOGRAPHERS: YUAN TING-PANG, YUKIO MIYAKI / EDITOR: KUO TING-HUNG / CAST: CHEN KUAN-TAI, CHING LI, DAVID CHIANG / MUSIC: FRANKIE CHAN FAN-KEI / PRODUCTION COMPANY: SHAW BROTHERS / PRINT SOURCE/RIGHTS: © LICENSED BY CELESTIAL PICTURES LIMITED. ALL RIGHTS RESERVED. / SCREENING FORMAT: DIGITAL BETACAM

'Chen Kuan-tai is a poor hick from Shandong whose fearsome boxing ability allows him to muscle his way to the top of the 1930s Shanghai underworld. Bursting with typically Changian bloodshed and distinguished by Chen's authentic kung-fu technique, Boxer also features Shaw luminaries David Chiang as a charismatic gangland don and Ching Li as a principled songstress. Among its highlights that have inspired a host of imitators: an iconic match between Chen and a Russian wrestler, and ruthless hatchetwielding thugs, most recently revived as the "axe gang" in Stephen Chow's comic Kung Fu Hustle [screening 19 October]'. UCLA Film and Television Archive

愛奴 (Ai Nu) (Intimate Confessions of a Chinese Courtesan) 1972 Ages 18+

愛奴 (Ai Nu) (Intimate Confessions of a Chinese Courtesan) 1972 Ages 18+

Wed 2 Oct 8.00pm / Cinema A

35MM, COLOUR, MONO, 97 MINUTES, HONG KONG, MANDARIN (ENGLISH SUBTITLES) / DIRECTOR: CHOR YUEN / ACTION DIRECTOR: SIMON CHUI YEE-ANG / PRODUCER: RUNME SHAW / SCRIPT: CHIU KANG-CHIEN / CINEMATOGRAPHER: JOHN CHU / EDITOR: CHIANG HSING-LUNG / CAST: LILY HO, YUEH HUA, PEI TI / MUSIC: STANLEY CHOW FOOK-LEUNG / PRODUCTION COMPANY: SHAW BROTHERS / PRINT SOURCE/RIGHTS: © LICENSED BY CELESTIAL PICTURES LIMITED. ALL RIGHTS RESERVED. / SCREENING FORMAT: DIGITAL BETACAM

‘Chor Yuen’s masterpiece re-imagines the martial arts school as a brothel, transposing the master to the brothel's madam and the disciple to a prostitute who must be trained in the art of servicing men. The film displays the remarkable gender subversion and perversion often found in the martial arts genre and Shaw Brothers films: the madam is a lesbian who abducts virgins to work in her brothel, and she both exploits and is genuinely in love with her protégée, who is faking subservience while secretly seeking bloody revenge. The frame is that of a murder mystery, with the requisite police investigation. The slain and dismembered are almost all men. “Perversity” meets swordplay, and the result is “pulp poetry”.’ Tony Rayns

龍爭虎鬥 (Lung Zang Fu Dau) (Enter the Dragon) 1973 MA15+

龍爭虎鬥 (Lung Zang Fu Dau) (Enter the Dragon) 1973 MA15+

Sat 21 Sep 8.15pm and Wed 16 Oct 8.00pm / Cinema A

35MM, COLOUR, MONO, 99 MINUTES, HONG KONG/USA, ENGLISH/CANTONESE (ENGLISH SUBTITLES), DIRECTOR: ROBERT CLOUSE / ACTION DIRECTOR: BRUCE LEE SIU-LUNG / PRODUCERS: RAYMOND CHOW MAN-WAI, FRED WEINTRAUB / SCRIPT: HOH SEUNG-LING, MICHAEL ALLIN / CINEMATOGRAPHERS: GILBERT HUBBS, HO LAN-SHAN / EDITOR: PETER CHEUNG YIU-CHUNG / CAST: BRUCE LEE SIU-LUNG, JOHN SAXON, JIM KELLY / MUSIC: LALO SCHIFRIN / PRODUCTION COMPANIES: GOLDEN HARVEST PRODUCTIONS, CONCORD PRODUCTIONS INC. / PRINT SOURCE/RIGHTS: CHAPEL DISTRIBUTION

‘Filmed almost entirely on location in Hong Kong, Enter the Dragon was the first kung-fu film produced by a major Hollywood studio, Warner Bros. Bruce Lee plays a martial arts expert seeking revenge on the gang that killed his sister. To take down the gang’s kung-fu-obsessed kingpin, Lee enters a gruelling martial arts tournament. With its mixture of spectacular action, fierce female co-stars (including Angela Mao) and exotic locations, the film became a huge success. Lee died a month before Enter the Dragon was released in the US, but the film’s immense popularity cemented his status as a cinematic legend.’ Academy of Motion Picture Arts and Sciences

直搗黃龍 (The Man from Hong Kong) 1975 MA15+

直搗黃龍 (The Man from Hong Kong) 1975 MA15+

Sat 28 Sep 3.00pm / Cinema A

35MM, COLOUR, MONO, 111 MINUTES, HONG KONG/AUSTRALIA, ENGLISH / DIRECTORS: JIMMY WANG YU, BRIAN TRENCHARD-SMITH / ACTION DIRECTOR: SAMMO HUNG KAM-BO / PRODUCERS: RAYMOND CHOW, JOHN FRASER / SCRIPT: BRIAN TRENCHARD-SMITH / CINEMATOGRAPHER: RUSSELL BOYD / EDITORS: RON WILLIAMS, PETER CHEUNG YIU-CHUNG / CAST: JIMMY WANG YU, GEORGE LAZENBY, SAMMO HUNG KAM-BO / MUSIC: NOEL QUINLAN / PRODUCTION COMPANIES: GOLDEN HARVEST PRODUCTIONS, PARAGON FILMS LTD / PRINT SOURCE: NATIONAL FILM & SOUND ARCHIVE / RIGHTS: ROADSHOW ENTERTAINMENT

‘Hong Kong supercop Fang (Wang Yu) is dispatched to Sydney to extradite a suspect in a drug smuggling case. By the time the holiday’s over, he’s run rings around the local cops, demolished a fleet of cars, bedded a few Australian actresses, had all the best snappy comebacks to ugly racist jokes, out-fought both legendary fight choreographer Sammo Hung and one-time James Bond George Lazenby and blown a Sydney skyscraper sky high. "Ozploitation" specialist Brian Trenchard-Smith’s first feature just gets better with age.’ National Film and Sound Archive, Australia

陸阿采與黃飛鴻 (Liu A-cai Yu Huang Fei-hong) (Challenge of the Masters) 1976 M

陸阿采與黃飛鴻 (Liu A-cai Yu Huang Fei-hong) (Challenge of the Masters) 1976 M

Sun 8 Sep 1.00pm / Cinema A

35MM, COLOUR, MONO, 95 MINUTES, HONG KONG, MANDARIN (ENGLISH SUBTITLES) / DIRECTOR/ACTION DIRECTOR: LAU KAR-LEUNG / PRODUCER: RUN RUN SHAW / SCRIPT: NI KUANG / CINEMATOGRAPHER: WANG TIEN-YU / ART DIRECTOR: JOHNSON TSAO CHUANG-SHENG / EDITOR: DAVID WU DAI-WAI / CAST: CHEN KUAN-TAI, GORDON LIU CHIA-HUI, KONG YEUNG, LIU CHIA-LIANG / MUSIC: FRANKIE CHAN FAN-KEI / PRODUCTION COMPANY: SHAW BROTHERS / PRINT SOURCE/RIGHTS: © LICENSED BY CELESTIAL PICTURES LIMITED. ALL RIGHTS RESERVED.

Challenge of the Masters depicts Wong Fei-hung's training, in the second film directed by the celebrated Lau Kar-leung, himself a third-generation student of Wong. Lau played the villain and cast his adopted brother, Gordon Liu, in the leading role. The combat is realistic and the values traditional. A must-see for fans of classic kung-fu cinema: no wires, no superhuman antics, just good energetic, wholesome fights.

天涯明月刀 (Tien ya ming yue dao) (The Magic Blade) 1976 M

天涯明月刀 (Tien ya ming yue dao) (The Magic Blade) 1976 M

Wed 2 Oct 6.00pm / Cinema A

35MM, COLOUR, MONO, 86 MINUTES, HONG KONG, MANDARIN/CANTONESE (ENGLISH SUBTITLES) / DIRECTOR: CHOR YUEN / ACTION DIRECTORS: WONG PAU-GEI, TONG GAI / PRODUCER: RUNME SHAW / SCRIPT: NI KUANG, SZE-TE ON / CINEMATOGRAPHER: HUANG CHIEH / EDITOR: CHIANG HSING-LUNG / CAST: TOMMY TI LUNG, LO LIEH, CHING LI / MUSIC: FRANKIE CHAN FAN-KEI / PRODUCTION COMPANY: SHAW BROTHERS / PRINT SOURCE/RIGHTS: © LICENSED BY CELESTIAL PICTURES LIMITED. ALL RIGHTS RESERVED.

‘This outré martial arts fantasy is possibly the most celebrated of Chor Yuen's 21 adaptations of Taiwanese writer Gu Long's novels. Shaw action stars Ti Lung and Lo Lieh are chivalric rivals who join forces to track down a legendary weapon — the terrifying Peacock Dart! — and defeat an evil sorcerer bent on domination. With thrilling acrobatics arrayed against a diorama of ancient Chinoiserie, The Magic Blade confirmed Chor Yuen as a master of the '70s wuxia spectacular.’ UCLA Film and Television Archive

醉拳 (Jui Kuen) (Drunken Master) 1978 M

醉拳 (Jui Kuen) (Drunken Master) 1978 M

Sat 7 Sep 6.00pm and Fri 18 Oct 8.15pm / Cinema A

35MM, COLOUR, MONO, 111 MINUTES, HONG KONG, CANTONESE (ENGLISH SUBTITLES) / DIRECTOR: YUEN WOO-PING / ACTION DIRECTORS: YUEN WOO-PING, HSU HSIAO / PRODUCER: NG SEE-YUEN / SCRIPT: NG SEE-YUEN, SIAO LUNG / CINEMATOGRAPHER: CHEUNG HOI / EDITOR: POON HUNG / CAST: JACKIE CHAN, SIMON YUEN SIU-TIN, HWANG JANG-LEE / MUSIC: STANLEY CHOW FOOK-LEUNG / PRODUCTION COMPANY: SEASONAL FILM CORPORATION / PRINT SOURCE: HONG KONG FILM ARCHIVE /RIGHTS: PARK CIRCUS / SCREENING FORMAT: DIGITAL BETACAM

Drunken Master is in many ways a myth in itself. Its immense popularity consolidated Jackie Chan's superstardom both locally and globally, not to mention playing a big part in putting Hong Kong cinema on the map. The film, one of the first films to depict the legendary martial artist Wong Fei-hung in his youth, reinvigorates the long-running franchise of Master Wong films with an exuberance that characterises 1970s Hong Kong. Director Yuen Woo-ping, with his mastery of storytelling and action choreography, anchors the newly emerging subgenre of kung-fu comedy and reflects kung-fu cinema's state of intoxicated ecstasy in his spirited staging of the drunken fist.’ Hong Kong Film Archive

 五毒 (Wu Du) (The Five Venoms) 1978 M

五毒 (Wu Du) (The Five Venoms) 1978 M

Sat 14 Sep 8.30pm and Fri 27 Sep 6.00pm / Cinema A

35MM, COLOUR, MONO, 97 MINUTES, HONG KONG, MANDARIN (ENGLISH SUBTITLES) / DIRECTOR: CHANG CHEH (ZHĀNG CHÈ) / ACTION DIRECTORS: LU FENG, LEUNG TING, ROBERT TAI CHI-HSIEN / PRODUCER: RUNME SHAW / SCRIPT: NI KUANG, CHANG CHEH / CINEMATOGRAPHER: YUKIO MIYAKI / EDITOR: CHIANG HSING-LUNG / CAST: KUO CHUI, SUN CHIEN, CHIANG SHENG / MUSIC: FRANKIE CHAN FAN-KEI / PRODUCTION COMPANY: SHAW BROTHERS / PRINT SOURCE/RIGHTS: © LICENSED BY CELESTIAL PICTURES LIMITED. ALL RIGHTS RESERVED. / DIGITAL BETACAM

‘The film that launched generations of new kung-fu acolytes, a popular film series, and a few thousand Wu Tang Clan rap spin-offs, this iconic film will also have Kill Bill fans experiencing serious déjà vu. Five skilled martial arts students — the Centipede, the Scorpion, the Lizard, the Snake, and the Toad — are mysterious, masked disciples of a dying clan leader. Kickass fight scenes and psychedelic lighting that would make Dario Argento beg for mercy give Five Deadly Venoms [US release title] 'essential viewing' status — and the film’s climactic five-way battle is the stuff of legend.’ The Cinefamily

少林卅六房 (Shao Lin San Shi Liu Fang) (The 36th Chamber of Shaolin) 1978 M

少林卅六房 (Shao Lin San Shi Liu Fang) (The 36th Chamber of Shaolin) 1978 M

Fri 27 Sep 8.15pm / Cinema A

35MM, COLOUR, MONO, 115 MINUTES, HONG KONG, MANDARIN (ENGLISH SUBTITLES) / DIRECTOR/ACTION DIRECTOR: LAU KAR-LEUNG / PRODUCER: MONA FONG / SCRIPT: NI KUANG / CINEMATOGRAPHER: ARTHUR WONG / EDITOR: CHING HSING-LUNG / CAST: GORDON LIU CHIA-HUI, WANG YU, LO LIEH / MUSIC: FRANKIE CHAN FAN-KEI / PRODUCTION COMPANY: SHAW BROTHERS / PRINT SOURCE/RIGHTS: © LICENSED BY CELESTIAL PICTURES LIMITED. ALL RIGHTS RESERVED.

The 36th Chamber of Shaolin is the most popular screen version of one of the key foundation myths of the kung-fu subgenre: the story of the dissemination of the top-secret combat techniques developed at the Shaolin Temple to the populace at large. An ebullient Lau Kar-fai (Gordon Liu Jiahui) plays a real-life figure long-since transmuted into legend, a Han Chinese commoner on the run from the Qing Dynasty’s Manchu oppressors who seeks refuge at Shaolin. The film’s absorbing account of his initiation into the two-fisted mysteries takes up a good third of the running time. The Shaolin style is known for its emphasis on the external and the physical, but as depicted here the training process is very much an inner voyage of discovery. The novice must work his way through a series of torturous “chambers,” designed to build strength and self-discipline, before winning permission to acquire actual fighting skills. The newly minted monk, now known as San De (Three Virtues), soon demonstrates the truth of the adage that “the mind is also a muscle”; he invents a new weapon, the three-section staff, to counter a rival’s “butterfly twin swords” style. In this tradition-bound milieu, however, innovation is always a dicey proposition: San De is drummed out of the corps when he suggests opening a “36th Chamber” to teach Shaolin techniques to the masses. Many of the pupils the reluctant apostate acquires in the final reel went on to become famed martial heroes in their own right. Some of their descendent disciples are still at work today in the Hong Kong movie industry.’ David Chute, UCLA Film and Television Archive

蛇形刁手 (She Xing Diao Shou) (Snake in the Eagle’s Shadow) 1978 Ages 15+

蛇形刁手 (She Xing Diao Shou) (Snake in the Eagle’s Shadow) 1978 Ages 15+

Fri 18 Oct 6.00pm / Cinema A

35MM, COLOUR, MONO, 98 MINUTES, HONG KONG, CANTONESE (ENGLISH SUBTITLES) / DIRECTOR: YUEN WOO-PING / ACTION DIRECTORS: HSU HSIA, YUEN WOO-PING / PRODUCER: NG SEE-YUEN / SCRIPT: NG SEE-YUEN, CHOI GAI-GWONG, TSAI CHI-KUANG, JACKIE CHAN (UNCREDITED) / CINEMATOGRAPHY: CHANG HAI / EDITOR: HUNG YIU-POON / ART DIRECTION: YUEN TAN TING / MUSIC: CHOU FU-LIANG / CAST: JACKIE CHAN, SIU TIEN YUEN, JANG LEE HWANG, DEAN SHEK, ROY HORAN / PRODUCTION CO: SEASONAL FILMS CORPORATION / PRINTS/RIGHTS: PARK CIRCUS / SCREENING FORMAT: DIGITAL BETACAM

After an unsuccessful run at the box office with Lo Wei’s productions during the 1970s, Jackie Chan was loaned to Ng See-yuen to work for his rival production company Seasonal Films. Based in part on a script by Chan, Snake in the Eagle’s Shadow gave Chan a chance to set a new tone for kung-fu films by introducing comic elements. In nineteenth-century China, Chan plays Chen Fu, a bullied orphan who is befriended by an old master trained in the Snake-fist style of fighting. When Eagle-claw fighters from Manchuria begin a senseless killing spree, Chen Fu is inspired by the movements of his cat to redevelop the techniques of Snake-fist, to defend of his life and that of his Master Fu.

豪俠 (Hao Xia) (Last Hurrah for Chivalry) 1979 MA15+

豪俠 (Hao Xia) (Last Hurrah for Chivalry) 1979 MA15+

Sat 28 Sep 6.00pm / Cinema A

35MM, COLOUR, MONO, 106 MINUTES, HONG KONG, CANTONESE (ENGLISH SUBTITLES) / DIRECTOR/SCRIPT: JOHN WOO / ACTION DIRECTOR: FUNG HAK-ON / PRODUCERS: RAYMOND CHOW MAN-WAI, JOHN WOO / CINEMATOGRAPHERS: CHEUNG YIU-JO, YU CHUN / EDITOR: PETER CHEUNG YIU-CHUNG / CAST: DAMIAN LAU CHUNG-YAN, WAI PAK, LAU KONG / MUSIC: FRANKIE CHAN FAN-KEI / PRODUCTION COMPANY: GOLDEN HARVEST PRODUCTIONS / PRINT SOURCE/RIGHTS: © 2010 FORTUNE STAR MEDIA LIMITED. ALL RIGHTS RESERVED. / SCREENING FORMAT: DCP

‘John Woo has often said that the self-sacrificing gangsters in A Better Tomorrow 1986 and The Killer 1988 were really wuxia (chivalrous knights) in modern drag. And this absorbing 1979 costume picture proves his point. Strongly influenced by the films of Woo’s mentor, Chang Cheh, Last Hurrah is a meditation on the decline of the old swordfighterly virtues. The central action unfolds in an almost totally cynical, mercenary world. “You don’t keep your promises”, one character complains, and his rival cheerfully agrees: “That’s the secret of my success!”.’ David Chute, UCLA Film and Television Archive

爛頭何 (Lan Tou He) (Dirty Ho) 1979 PG

爛頭何 (Lan Tou He) (Dirty Ho) 1979 PG

Sun 20 Oct 1.00pm / Cinema A

35MM, COLOUR, MONO, 103 MINUTES, HONG KONG, CANTONESE/MANDARIN (ENGLISH SUBTITLES) / DIRECTOR/ACTION DIRECTOR: LAU KAR-LEUNG / PRODUCER: MONA FONG / SCRIPT: NI KUANG / CINEMATOGRAPHERS: ARTHUR WONG NGOK-TAI, PETER NGOR CHI-KWAN / EDITORS: LEE YIM-HOI, CHIANG HSING-LUNG / CAST: WONG YU, GORDON LIU CHIA-HUI, LO LIEH / COMPOSER: EDDIE H WANG CHI-REN / PRODUCTION COMPANY: SHAW BROTHERS / PRINT SOURCE/RIGHTS: © LICENSED BY CELESTIAL PICTURES LIMITED. ALL RIGHTS RESERVED.

‘Fighting without seeming to fight — that's the ingenious premise at the heart of this dazzler by martial arts grandmaster Lau Kar-leung. The director's mainstay, Gordon Liu plays a prodigal prince (and hyper-cultivated epicurean) targeted for assassination by his elder brother. Enter Wang Yu as Ho, a boisterous ruffian who reluctantly apprentices himself to the expert Liu. With the killers disguised as a wine merchant and an antiques dealer, the prince finds himself parrying dangerous kicks and blows while in art appreciation mode. The climactic fight-back-to-the-palace is a set piece for the ages.’ UCLA Film and Television Archive

名劍 (Ming Jian) (The Sword) 1980 MA15+

名劍 (Ming Jian) (The Sword) 1980 MA15+

Sun 29 Sep 3.00pm / Cinema A

35MM, COLOUR, MONO, 94 MINUTES, HONG KONG, CANTONESE (ENGLISH SUBTITLES) / DIRECTOR: PATRICK TAM KAR-MING / ACTION DIRECTORS: TANG TAK-CHEUNG, TONY CHING SIU-TUNG / PRODUCER: RAYMOND CHOW MAN-WAI / SCRIPT: PATRICK TAM KAR-MING, LAU SHING-HON, CLIFFORD CHOI GAI-GWONG, WONG YING, LO CHI-KEUNG, LAU TIN-CHI / CINEMATOGRAPHER: BILL WONG CHUNG-PIU / EDITOR: PETER CHEUNG YIU-CHUNG / CAST: ADAM CHENG SIU-CHOW, NORMAN CHU SIU-KEUNG, CHUI GIT / MUSIC: JOSEPH KOO KA-FAI / PRODUCTION COMPANY: GOLDEN HARVEST PRODUCTIONS / PRINT SOURCE/RIGHTS: © 2010 FORTUNE STAR MEDIA LIMITED. ALL RIGHTS RESERVED. / SCREENING FORMAT: DCP

‘Released a year after Tsui Hark’s The Butterfly Murders 1979, The Sword is made in the style of the new kung-fu film. The main plot is about young swordsman Li’s challenge to a hermit master. The subplot revolves around director Patrick Tam’s expert topic — regret and jealousy among Li’s new and old flames.’ Hong Kong Film Archive

長輩 (Cheung Booi) (My Young Auntie) 1981 M

長輩 (Cheung Booi) (My Young Auntie) 1981 M

Sun 20 Oct 3.00pm / Cinema A

35MM, COLOUR, MONO, 121 MINUTES, HONG KONG, CANTONESE/MANDARIN (ENGLISH SUBTITLES) / DIRECTOR: LAU KAR-LEUNG / ACTION DIRECTORS: KING LEE KING-CHUE, HSIAO HO, LAU KAR-LEUNG / PRODUCER: MONA FONG / SCRIPT: LIU CHIA-LIANG, LEE TAI-HANG / CINEMATOGRAPHER: PETER NGOR CHI-KWAN / EDITORS: LEE YIM-HOI, CHIANG HSING-LUNG / CAST: KARA HUI YING-HUNG, HSIAO HO, LIU CHIA-LIANG / COMPOSER: EDDIE H. WANG CHI-REN / PRODUCTION COMPANY: SHAW BROTHERS / PRINT SOURCE/RIGHTS: © LICENSED BY CELESTIAL PICTURES LIMITED. ALL RIGHTS RESERVED.

A young widow (Kara Hui) arrives in Guangdong to deliver a fought-over deed of inheritance to the rightful heirs, her crotchety nephew-by-marriage (Lau Kar-leung) and his westernized son (Xiao Hou). Age and gender role reversals allow for a wealth of kung-fu funny business: the nephew is easily twice as old as the aunt but still bound to respect family hierarchies; the fetching aunt has serious warrior chops despite her feminine appearance. Freely mixing martial arts with allusions to Hollywood genres (musicals, swashbucklers and even war movies), My Young Auntie is an unalloyed triumph of kung fu comedy. Hui delivers a winning performance as the woman who unsettles the standard teacher-student paradigm of Lau's oeuvre.’ UCLA Film and Television Archive

第一類型危險 (Di Yi Lei Xing Wei Xian) (Dangerous Encounters – 1st Kind) 1980 Ages 18+

第一類型危險 (Di Yi Lei Xing Wei Xian) (Dangerous Encounters – 1st Kind) 1980 Ages 18+

Sat 26 Oct 6.00pm / Cinema A

35MM, COLOUR, MONO, 95 MINUTES, HONG KONG, CANTONESE (ENGLISH SUBTITLES) / DIRECTOR: TSUI HARK / ACTION DIRECTOR: TONY CHING SIU-TUNG / PRODUCER: THOMAS FUNG WING-FAT / SCRIPT: TSUI HARK, SZE-TO CHEUK-HON / CINEMATOGRAPHER: DAVID CHUNG CHI-MAN / EDITORS: JOHN CHOW CHEUNG-GAN, WOO WAI-CHI / CAST: LO LIEH, LAM JAN-KEI, ALBERT AU SHUI-KEUNG / MUSIC: TANG SIU-LAM, YU LEUN / PRODUCTION COMPANY: FOTOCINE FILM PRODUCTION LIMITED / PRINT SOURCE: HONG KONG FILM ARCHIVE / RIGHTS: FAIRCHILD FILMS INTERNATIONAL / SCREENING FORMAT: DIGITAL BETACAM

Dangerous Encounters – 1st Kind targets the social conditions of Hong Kong and all forms of repression. The movie expresses a nihilistic vision that is indiscriminate in its destructive power, a vision that is extreme and thoroughly personal. The movie is both social critique and also a subjective venting of frustration and indignation.’ Li Cheuk-to, The Swordsman and his Jiang Hu: Tsui Hark and Hong Kong Film, 2002

武館 (Wu Guan) (Martial Club) 1981 PG

武館 (Wu Guan) (Martial Club) 1981 PG

Sun 8 Sep 3.00pm / Cinema A

35MM, COLOUR, MONO, 110 MINUTES, HONG KONG, MANDARIN (ENGLISH SUBTITLES) / DIRECTOR/ACTION DIRECTORs: LAU KAR-LEUNG, KING LEE KING-CHUE, HSIAO HO / PRODUCER: MONA FONG YAT-WA / SCRIPT: NI KUANG / CINEMATOGRAPHER: PETER NGOR CHI-KWAN / EDITORS: CHIANG HSING-LUNG, LEE YIM-HOI / CAST: GORDON LIU CHIA-HUI, ROBERT MAK TAK-LAW, KARA HUI YING-HUNG / MUSIC: EDDIE H WANG CHI-REN / PRODUCTION COMPANY: SHAW BROTHERS / PRINT SOURCE/RIGHTS: © LICENSED BY CELESTIAL PICTURES LIMITED. ALL RIGHTS RESERVED.

Director Lau Kar-leung returns to Wong Fei-hung's youthful exploits and antics as he learns to master his ego, with Gordon Liu again in the title role. One of the finest 'pure' kung-fu films, with no wires or trickery, Martial Club builds to an exhilarating climax in a narrow alley.

败家仔 (Bai ga jai) (The Prodigal Son) 1981 R18+

败家仔 (Bai ga jai) (The Prodigal Son) 1981 R18+

Sat 2 Nov 3.15pm / Cinema A

35MM, COLOUR, MONO, 104 MINUTES, HONG KONG, CANTONESE (ENGLISH SUBTITLES), DIRECTOR: SAMMO HUNG KAM-BO / ACTION DIRECTORS: SAMMO HUNG KAM-BO, YUEN BIAO, LAM CHING-YING, BILLY CHAN WUI-NGAI / PRODUCER: RAYMOND CHOW, LEONARD HO / SCRIPT: SAMMO HUNG KAM-BO, BARRY WONG / CINEMATOGRAPHER: RICKY LAU / EDITOR: YAO CHUNG CHANG / CAST: SAMMO HUNG, YUEN BIAO, LAM CHING-YING / PRODUCTION COMPANY: GOLDEN HARVEST COMPANY, PARAGON FILMS LTD / PRINT SOURCE/RIGHTS: © 2010 FORTUNE STAR MEDIA LIMITED. ALL RIGHTS RESERVED. / SCREENING FORMAT: DCP

The Prodigal Son was the last period kung-fu film Hung directed at Golden Harvest. Through the stories of two young martial arts fanatics — one good, one bad — Hung makes the point that walking in a father’s footsteps is more a curse than a blessing, and mocks traditional father son, teacher disciple and master servant relationships. The film demonstrates Hung’s skills as a director — particularly strong are the parts combining Chinese opera and martial arts. In the film’s final section, the master teaches Liang wing chun moves, alternating between strength and grace, solemnity and comedy, confirming the film as a masterpiece of Hung’s early career.’ Hong Kong Film Archive

 十八般武藝 (Shi Ba Ban Wu Yi) (Legendary Weapons of China) 1982 PG

十八般武藝 (Shi Ba Ban Wu Yi) (Legendary Weapons of China) 1982 PG

Sun 22 Sep 3.15pm / Cinema A

35MM, COLOUR, MONO, 109 MINUTES, HONG KONG, CANTONESE/MANDARIN (ENGLISH SUBTITLES) / DIRECTOR: LAU KAR-LEUNG / ACTION DIRECTORS: LAU KAR-LEUNG, HSIAO HO, KING LEE KING-CHUE / PRODUCER: MONA FONG / SCRIPT: LAU KAR-LEUNG, LEE TAI-HANG / CINEMATOGRAPHER: PETER NGOR CHI-KWAN / EDITORS: LEE YIM-HOI, WONG KWOK-WAI / CAST: LIU CHIA-LIANG, ALEXANDER FU SHENG, GORDIAN LIU CHIA-HUI / PRODUCTION COMPANY: SHAW BROTHERS / PRINT SOURCE/RIGHTS: © LICENSED BY CELESTIAL PICTURES LIMITED. ALL RIGHTS RESERVED. / SCREENING FORMAT: DIGITAL BETACAM

‘Lau Kar-leung's exhilarating exposition on Chinese martial arts has been hailed as the ultimate film on the subject. It argues for realistic kung fu over fakery and spectacle. A compendium of 18 classic weaponry and combat styles, the film also reiterates a favourite theme of the martial arts cinema — the training of a disciple by a master. Lau himself stars as an erstwhile master who, having disavowed the Messianic bullet-repelling hocus-pocus of the Boxer rebels, is now pursued in exile by three young Boxer assassins. Action choreography here is patented Lau: marvellously inventive, tightly syncopated and high-spirited.’ UCLA Film and Television Archive

最佳拍檔 (Zui Jia Pai Dang) (Aces Go Places) 1982 M

最佳拍檔 (Zui Jia Pai Dang) (Aces Go Places) 1982 M

Sat 19 Oct 3.00pm / Cinema A

35MM, COLOUR, MONO, 79 MINUTES, HONG KONG, CANTONESE (ENGLISH SUBTITLES) / DIRECTOR/ACTION DIRECTOR: ERIC TSANG CHI-WAI / PRODUCERS: KARL MAKA, DEAN SHEK TIN / SCRIPT: RAYMOND WONG PAK-MING / CINEMATOGRAPHERS: JOE CHAN JUN-GIT, PAUL YIP PAK-YING, MANNY HOH MING, ARTHUR WONG NGOK-TAI / EDITOR: TONY CHOW KWOK-CHUNG / CAST: SAMUEL HUI KOON-KIT, KARL MAKA, SYLVIA CHANG AI-CHIA / MUSIC: TEDDY ROBIN KWAN, SAMUEL HUI KOON-KIT / PRODUCTION COMPANY: CINEMA CITY & FILMS CO. / PRINT SOURCE: HONG KONG FILM ARCHIVE / RIGHTS: GOLDEN PRINCESS FILM PRODUCTION LTD / SCREENING FORMAT: DIGITAL BETACAM

‘The famous thief, King Kong, has stolen a bag of diamonds from a group of gangsters, and asks his friend Ah Chuen to look after it. After Ah Chuen has hidden the diamonds in a safe place, he is kidnapped by his enemy, Mad Max. While the gangsters send White Glove to find out where the diamonds are, the police set about solving the case and more hilarious twists and turns ensue.’ Hong Kong Film Archive

省港旗兵 (Sheng Gang Qi Bing) (Long Arm of the Law) 1984 Ages 18+

省港旗兵 (Sheng Gang Qi Bing) (Long Arm of the Law) 1984 Ages 18+

Sat 26 Oct 8.00pm / Cinema A

35MM, COLOUR, MONO, 100 MINUTES, HONG KONG, CANTONESE (ENGLISH SUBTITLES), DIRECTOR: JOHNNY MAK TONG-HUNG / ACTION DIRECTORS: SAMMO HUNG STUNTMEN’S ASSOCIATION, BILLY CHAN WUI-NGAI / PRODUCERS: JOHNNY MAK TONG-HUNG, SAMMO HUNG KAM-BO / SCRIPT: PHILLIP CHAN YAN-KIN / CINEMATOGRAPHER: JOHNNY KOO KWOK-WAH / EDITOR: PETER CHEUNG YIU-CHUNG / CAST: LAM WAI, WONG KIN, KONG LUNG / MUSIC: LAM MIU-TAK / PRODUCTION COMPANIES: BO HO FILMS CO. LTD., JOHNNY MAK PRODUCTION CO LTD, PARAGON FILMS LTD / PRINT SOURCE/RIGHTS: © LICENSED BY CELESTIAL PICTURES LIMITED. ALL RIGHTS RESERVED. / SCREENING FORMAT: DCP

Johnny Mak’s film was based on an interview with mainland gang members who enter Hong Kong illegally from Canton Province. He used non-professional actors with gang affiliations to achieve a documentary quality. At the time the film was made, Hong Kong was afflicted by a spate of crimes perpetrated by members of the mainland Big Circle gang, and prejudice against mainland Chinese simmered violently.

警察故事 (Ging Chat Goo Si) (Police Story) 1985 M

警察故事 (Ging Chat Goo Si) (Police Story) 1985 M

Sat 26 Oct 1.00pm / Cinema A

35MM, COLOUR, MONO, 101 MINUTES, HONG KONG, CANTONESE (ENGLISH SUBTITLES) / DIRECTOR: JACKIE CHAN / ACTION DIRECTOR: JACKIE CHAN'S STUNTMEN ASSOCIATION, DANNY CHOW YUN-GIN, BENNY LAI KEUNG-KUEN, FUNG HAK-ON, MARS, PAUL WONG KWAN, CHRIS LEE KIN-SANG / PRODUCER: LEONARD HO KOON-CHEUNG / SCRIPT: EDWARD TANG GING-SANG, JACKIE CHAN / CINEMATOGRAPHER: CHEUNG YIU-JO / EDITOR: PETER CHEUNG YIU-CHUNG / CAST: JACKIE CHAN, BRIGITTE LIN CHING-HSIA, MAGGIE CHEUNG MAN-YUK / MUSIC: MICHAEL LAI SIU-TIN, TANG SIU-LAM / PRODUCTION COMPANIES: GOLDEN WAY FILMS LTD, PARAGON FILMS LTD / PRINT SOURCE/RIGHTS: © 2010 FORTUNE STAR MEDIA LIMITED. ALL RIGHTS RESERVED / SCREENING FORMAT: DCP

‘This film marked the most important turning point in Jackie Chan’s career, adapting successfully to the cop thriller genre and also making housing blocks, buses and shopping malls his studio. And there he turned slapstick acrobatics and life-threatening stunts into large-scale action spectacles. He was scriptwriter, director, actor and action choreographer in one and designed each scene with meticulous attention. From car stunts at a housing estate to jumping from a high-rise, to crashing into glass and stopping a bus, Chan’s ruthless aesthetics and heroism look incredible to us today.’ Hong Kong Film Archive

英雄本色 (Ying Hung Boon Sik) (A Better Tomorrow) 1986 R18+

英雄本色 (Ying Hung Boon Sik) (A Better Tomorrow) 1986 R18+

Fri 4 Oct 6.00pm and Wed 9 Oct 6.00pm / Cinema A

35MM, COLOUR, MONO, 95 MINUTES, HONG KONG, CANTONESE/MANDARIN/ENGLISH (ENGLISH SUBTITLES) / DIRECTOR: JOHN WOO / ACTION DIRECTORS: BLACKY KO SAU-LEUNG, STEP HEN TUNG WAI / PRODUCER: TSUI HARK / SCRIPT: CHAN HING-KAR, JOHN WOO, LEUNG SUK-WAH / CINEMATOGRAPHER: HORACE WONG WING-HANG / EDITOR: KAM MA / CAST: TI LUNG, CHOW YUN-FAT, LESLIE CHEUNG KWOK-WING / MUSIC: JOSEPH KOO KA-FAI, DAVID WU DAI-WAI / PRODUCTION COMPANY: CINEMA CITY COMPANY LTD / PRINT SOURCE: LION ROCK PRODUCTIONS / RIGHTS: GOLDEN PRINCESS FILM PRODUCTION LTD 

A Better Tomorrow is one of the most extravagant, elegant gangster movies ever made. It became the highest grossing film in Hong Kong history and single-handedly launched a new genre: the swashbuckling, guns-blazing hero film. You might think you've seen this story before — two brothers, on opposite sides of the law, reluctantly teaming up to bring down a crime syndicate — but director John Woo tackles the material with such earnestness and passion that he does nothing less than reinvent it. Woo explores the macho code of loyalty and sacrifice among gang members (a theme borrowed from wuxia film) with tremendous resonance, giving it a charge bordering on the homoerotic.’ Tod Booth, Pacific Film Archive

A 35MM FILM PRINT FROM JOHN WOO’S PERSONAL COLLECTION. 

英雄本色續集 (Ying Hung Boon Sik II) (A Better Tomorrow 2) 1987 Ages 18+

英雄本色續集 (Ying Hung Boon Sik II) (A Better Tomorrow 2) 1987 Ages 18+

Fri 4 Oct 8.00pm / Cinema A

35MM, COLOUR, MONO, 105 MINUTES, HONG KONG, CANTONESE/MANDARIN/ENGLISH (ENGLISH SUBTITLES) / DIRECTORS/SCRIPT: JOHN WOO, TSUI HARK / ACTION DIRECTOR: TONY CHING SIU-TUNG / PRODUCER: TSUI HARK / CINEMATOGRAPHERS: BOB THOMPSON, HORACE WONG WING-HANG / EDITORS: KAM MA, CHEUNG KA-FAI, WONG MING-GONG, WONG WING-MING, TONY YU KAI-HUNG, CHOI TAT-MING / CAST: TI LUNG, LESLIE CHEUNG KWOK-WING, DEAN SHEK TIN, CHOW YUN-FAT / PRODUCTION COMPANY: CINEMA CITY COMPANY LTD / PRINT SOURCE: © 2010 FORTUNE STAR MEDIA LIMITED. ALL RIGHTS RESERVED. / RIGHTS: GOLDEN PRINCESS FILM PRODUCTION LTD / SCREENING FORMAT: DIGITAL BETACAM

How could you not love a script that brazenly introduces Chow Yun-fat's character's identical twin brother? Plot twists, double-crosses and escalating violence punctuate this feverish sequel that continues to explore themes of honour, redemption and the inevitability of the final fall.

龍虎風雲 (Lung Fu Fong Wan) (City on Fire) 1987 Ages 18+

龍虎風雲 (Lung Fu Fong Wan) (City on Fire) 1987 Ages 18+

Fri 25 Oct 6.00pm / Cinema A

35MM, COLOUR, MONO, 101 MINUTES, HONG KONG, CANTONESE/MANDARIN/ENGLISH (ENGLISH SUBTITLES) / DIRECTOR: RINGO LAM LING-TUNG / ACTION DIRECTOR: JOE CHU KAI-SANG / PRODUCER: KARL MAKA / SCRIPT: TOMMY SHAM SAI-SANG / CINEMATOGRAPHER: ANDREW LAU WAI-KEUNG / EDITOR: WONG MING-LAM / CAST: CHOW YUN-FAT, DANNY LEE SAU-YIN, SUEN YUET / MUSIC: TEDDY ROBIN KWAN / PRODUCTION COMPANY: CINEMA CITY COMPANY LTD / PRINT SOURCE: © 2010 FORTUNE STAR MEDIA LIMITED. ALL RIGHTS RESERVED. / RIGHTS: GOLDEN PRINCESS FILM DISTRIBUTION LTD / SCREENING FORMAT: DIGITAL BETACAM

‘The undercover cop thrived in the late 1980s as crime thrillers became the dominant genre of Hong Kong cinema. City on Fire was largely responsible for taking the subgenre to higher levels, with the great Chow Yun-fat playing the cop who's torn between fulfilling his duty and betraying his friend, boss of the gang he has infiltrated. Ringo Lam established his signature style of dark, gritty, fatalistic drama punctuated by explosive bursts of violence with this film, which later earned a devoted international following, reputedly serving as inspiration for Quentin Tarantino's Reservoir Dogs 1992.’ Hong Kong Film Archive

喋血雙雄 (Dip Huet Seung Hung) (The Killer) 1989 M

喋血雙雄 (Dip Huet Seung Hung) (The Killer) 1989 M

Sun 6 Oct 3.00pm and Wed 9 Oct 8.00pm / Cinema A

35MM, COLOUR, MONO, 111 MINUTES, HONG KONG, CANTONESE/MANDARIN/ENGLISH (ENGLISH SUBTITLES) / DIRECTOR: JOHN WOO / ACTION DIRECTORS: TONY CHING SIU-TUNG, LAU CHI-HO / PRODUCER: TSUI HARK / CINEMATOGRAPHERS: PETER PAU TAK-HAI, HORACE WONG WING-HANG / EDITOR: FAN KUNG-MING / CAST: CHOW YUN-FAT, DANNY LEE SAU-YIN, SALLY YEH CHIAN-WEN / MUSIC: DAVID WU DAI-WAI, LOWELL LO KOON-TING / PRODUCTION COMPANIES: FILM WORKSHOP, GOLDEN PRINCESS FILM PRODUCTION LTD / PRINT SOURCE: LION ROCK PRODUCTIONS / RIGHTS: GOLDEN PRINCESS FILM PRODUCTION LTD

‘The whole movie is a jet stream of very violent, exciting high points that keep shooting higher until it's almost high art. The charismatic Chow Yun-fat is a successful hitman riding high until, on the eve of his retirement, he accidentally blinds a beautiful singer in one of his final hits. Guilt forces him back on the job to pay for her operation, but he can't dodge a policeman's relentless pursuit (it's more like a courtship with bullets). The enterprise is fuelled by a combustible mixture of Hollywood movies: De Palma, Peckinpah, Scorsese, Spielberg, Serpico, Magnificent Obsession, Point Blank, Duel in the Sun, and more go whizzing by. A masterpiece of highly choreographed action, editing and visual design, the film soars along in bursts of cartoon violence with flourishingly operatic colours.’ Tom Kemper, Pacific Film Archive

A 35MM FILM PRINT FROM JOHN WOO’S PERSONAL COLLECTION. 

群龍戲鳳 (Qun Long Xi Feng) (Pedicab Driver) 1989 M

群龍戲鳳 (Qun Long Xi Feng) (Pedicab Driver) 1989 M

Sat 19 Oct 1.00pm / Cinema A

35MM, COLOUR, MONO, 95 MINUTES, HONG KONG, CANTONESE (ENGLISH SUBTITLES) / DIRECTOR: SAMMO HUNG KAM-BO / ACTION DIRECTORS: SAMMO HUNG STUNTMEN’S ASSOCIATION, BRANDY YUEN JAN-YEUNG, MANG HOI / PRODUCER: ANITA CHAN / SCRIPT: BARRY WONG PING-YIU, YUEN GAI-CHI / CINEMATOGRAPHER: JIMMY LEUNG CHI-MING, TOM LAU MOON-TONG, STEPHEN POON TAK-YIP / EDITOR: KEUNG CHUEN-TAK, PETER CHEUNG YIU-CHUNG / CAST: SAMMO HUNG KAM-BO, NINA LI CHI, SUEN YUET / MUSIC: LOWELL LO KOON-TING, SHERMAN CHOW GAM-CHEUNG / PRODUCTION COMPANY: BOJON FILMS CO. LTD / PRINT SOURCE/RIGHTS: BOJON FILMS 

‘From the 1980s, Hong Kong action movies began to break with the tried-and-tested kung-fu formulas and mixed elements of romance, comedy and action to create a whole new hybrid genre. Pedicab Driver tells of the love affairs of two pedicab drivers, neatly blending romantic scenes with breathtaking action sequences. The Star Wars-esque lightsaber battles are hilarious, and the mad cap chases between cars and the tricycles truly thrilling. The most jaw-dropping scene of all, however, is the showdown between Sammo Hung and Lau Kar-leung: Lau, trained in the orthodox Southern school of martial arts, confronts Hung, with his background in Peking Opera. Both are Hong Kong masters of choreography in their respective styles - ranging from unarmed fists to stick fighting - creating a powerful and supremely memorable visual spectacle.’ International Film Festival Rotterdam

賭神 (Du Shen) (God of Gamblers) 1989 M

賭神 (Du Shen) (God of Gamblers) 1989 M

Sat 19 Oct 6.00pm / Cinema A

35MM, COLOUR, MONO, 126 MINUTES, HONG KONG, CANTONESE/ENGLISH (ENGLISH SUBTITLES), DIRECTOR/SCRIPT: WONG JING / ACTION DIRECTOR: PAUL WONG KWAN / PRODUCER: JIMMY HEUNG WA-SING / CINEMATOGRAPHERS: PETER PAU TAK-HAI, DAVID CHUNG CHI-MAN / EDITOR: ROBERT CHOI HUNG / CAST: CHOW YUN-FAT, ANDY LAU TAK-WAH, JOEY WONG CHO-YIN / MUSIC: SHERMAN CHOW GAM-CHEUNG, LOWELL LO KOON-TING / PRODUCTION COMPANY: WIN’S MOVIE PRODUCTIONS / PRINT SOURCE/RIGHTS: ORANGE SKY GOLDEN HARVEST ENTERTAINMENT COMPANY LIMITED

‘In Hong Kong's second highest grossing picture of the decade, partly inspired by Rain Man 1988, the great Chow Yun-fat suffers a head trauma and reverts briefly to a childlike state, taking a vacation from high-stakes capitalism. But, alas, nurtured by a young hustler (Andy Lau, with the callow charm of a rising star), he eventually saunters back into the gambling ring.’ Hong Kong Film Archive

喋血街頭 (Die Xue Jie Tou) (Bullet in the Head) 1990 Ages 18+

喋血街頭 (Die Xue Jie Tou) (Bullet in the Head) 1990 Ages 18+

Sat 5 Oct 6.00pm and Sat 12 Oct 1.00pm / Cinema A

35MM, COLOUR, MONO, 136 MINUTES, HONG KONG, CANTONESE/ENGLISH/VIETNAMESE/ FRENCH (ENGLISH SUBTITLES) / DIRECTOR/PRODUCER/EDITOR: JOHN WOO / ACTION DIRECTOR: LAU CHI-HO / SCRIPT: PATRICK LEUNG PAK-KIN, JOHN WOO, JANET CHUN SIU-JAN / CINEMATOGRAPHERS: HORACE WONG WING-HANG, ARDY LAM GWOK-WAH, WILSON CHAN PUI-KA, SOMCHAI KITTIKUN / CAST: TONY LEUNG CHIU-WAI, JACKY CHEUNG HOK-YAU, WAISE LEE CHI-HUNG / MUSIC: JAMES WONG JIM, ROMEO DIAZ / PRODUCTION COMPANIES: GOLDEN PRINCESS FILM PRODUCTION LTD, JOHN WOO FILM PRODUCTION LTD / PRINT SOURCE: LION ROCK PRODUCTIONS / RIGHTS: GOLDEN PRINCESS FILM PRODUCTION LTD

'Hailed by many as Woo’s finest and most personal film, Bullet in the Head is a thrillingly beautiful and searingly cathartic drama of three friends (Tony Leung, Jacky Cheung and Waise Lee) in 1967 Hong Kong, who are forced to flee after becoming embroiled in a gang vendetta. Woo charts their harrowing escape into the Vietnam inferno, as the trio becomes targets for black marketeers and the Vietcong, experiences that will tear apart their friendship.' American Cinémathèque

A 35MM FILM PRINT FROM JOHN WOO’S PERSONAL COLLECTION. 

黃飛鴻 (Wong Fei-Hung) (Once Upon a Time in China) 1991 M

黃飛鴻 (Wong Fei-Hung) (Once Upon a Time in China) 1991 M

Fri 6 Sep 6.00pm and Sat 21 Sep 1.00pm / Cinema A

35MM, COLOUR, MONO, 134 MINUTES, HONG KONG, CANTONESE/ENGLISH (ENGLISH SUBTITLES) / DIRECTOR: TSUI HARK / ACTION DIRECTORS: LAU KAR-WING, YUEN SHUN-YI, YUEN CHEUNG-YAN / SCRIPT: TSUI HARK, YUEN GAI-CHI, EDWARD LEUNG YIU-MING / CINEMATOGRAPHERS: ARDY LAM GWOK-WAH, BILL WONG CHUNG-PIU, WILSON CHAN PUI-KA, CHANG DUNG-CHUEN, DAVID CHUNG CHI-MAN, ARTHUR WONG NGOK-TAI / EDITOR: MARCO MAK CHI-SIN / CAST: JET LI, YUEN BIAO, JACKY CHEUNG HOK-YAU / MUSIC: JAMES WONG JIM, CHOW GAM-WING / PRODUCTION COMPANIES: GOLDEN HARVEST PRODUCTIONS, PARAGON FILMS LTD. / PRINT SOURCE/RIGHTS: © 2010 FORTUNE STAR MEDIA LIMITED. ALL RIGHTS RESERVED. / SCREENING FORMAT: DCP

Titled simply 'Wong Fei-hung' for the Chinese release, Once Upon a Time in China sees director Tsui Hark maximising Jet Li's vibrant screen presence and real martial arts skill to create one of the most celebrated and epic renderings of the legendary folk hero's life. Tsui mixes it up, crossing the Western with a period martial arts film, to create a series of breathtaking fight sequences in which Wong takes a stand against the English, French and US forces that are plundering China.

黃飛鴻之二男兒當自強 (Wong Fei Hung II: Nam Yi Dong Ji Keung) (Once Upon a Time in China 2) 1992 M

黃飛鴻之二男兒當自強 (Wong Fei Hung II: Nam Yi Dong Ji Keung) (Once Upon a Time in China 2) 1992 M

Fri 6 Sep 8.45pm and Sat 21 Sep 3.30pm / Cinema A

35MM, COLOUR, MONO, 113 MINUTES, HONG KONG, CANTONESE/ENGLISH (ENGLISH SUBTITLES) / DIRECTOR: TSUI HARK / ACTION DIRECTOR: YUEN WOO-PING / PRODUCERS: NG SEE-YUEN, TSUI HARK / SCRIPT: TSUI HARK, CHARCOAL TAN, CHAN TIN-SUEN / CINEMATOGRAPHER: ARTHUR WONG NGOK-TAI / EDITORS: MARCO MAK CHI-SIN, ANGIE LAM ON-YEE, ANDY CHAN CHI-WAI / CAST: JET LI, ROSAMUND KWAN CHI-LAM, DONNIE YEN / MUSIC: RICHARD YUEN CHEUK-FAN, JOHNNY YEUNG KEI-CHEUNG / PRODUCTION COMPANIES: FILM WORKSHOP CO. LTD., PARAGON FILMS LTD. / PRINT SOURCE: AMERICAN GENRE FILM ARCHIVE / RIGHTS: © 2010 FORTUNE STAR MEDIA LIMITED. ALL RIGHTS RESERVED.

Wong Fei-hung travels to a medical conference in Canton in 1895 and becomes embroiled in a power struggle involving government officials, Sun Yat-sen's anti-imperialist movement and the xenophobic White Lotus clan. Yuen Woo-ping's extraordinary action direction stages a rare face-off between martial arts icons Jet Li and Donnie Yen.

辣手神探 (Lat Sau San Taam) (Hard Boiled) 1992 Ages 18+

辣手神探 (Lat Sau San Taam) (Hard Boiled) 1992 Ages 18+

Sat 5 Oct 8.45pm and Sat 12 Oct 3.30pm / Cinema A

35MM, COLOUR, MONO, 128 MINUTES, HONG KONG, CANTONESE/ENGLISH (ENGLISH SUBTITLES) / DIRECTOR: JOHN WOO / ACTION DIRECTOR: PHILLIP KWOK CHUN-FUNG / PRODUCERS: TERENCE CHANG GA-JAN, LINDA KUK MEI-LAI / SCRIPT: BARRY WONG PING-YIU / CINEMATOGRAPHER: HORACE WONG WING-HANG / EDITORS: JOHN WOO, DAVID WU DAI-WAI, A CHIK, HAI KIT-WAI / CAST: CHOW YUN-FAT, TONY LEUNG CHIU-WAI, TERESA MO SUN-KWAN / MUSIC: DANG CHIU-YAU, JACKY YEUNG TAK-NGAI / PRODUCTION COMPANY: GOLDEN PRINCESS FILM PRODUCTION LTD / PRINT SOURCE/RIGHTS: MEI AH ENTERTAINMENT

‘Violence as poetry, rendered by a master — brilliant and passionate, John Woo’s Hard Boiled tells the story of a jaded detective nicknamed “Tequila” (played with controlled fury by Chow Yun-fat). Woo’s dizzying odyssey through the world of Hong Kong triads, undercover agents and frenzied police raids culminates unforgettably in the breathless hospital sequence. More than a cops-and-bad-guys story, Hard Boiled continually startles with its originality and dark humour.’ UCLA International Institute

俠盜高飛 (Xia Dao Gao Fei) (Full Contact) 1992 Ages 18+

俠盜高飛 (Xia Dao Gao Fei) (Full Contact) 1992 Ages 18+

Fri 25 Oct 8.15pm / Cinema A

35MM, COLOUR, MONO, 96 MINUTES, HONG KONG, CANTONESE/MANDARIN/ENGLISH (ENGLISH SUBTITLES) / DIRECTOR: RINGO LAM LING-TUNG / ACTION DIRECTORS: LAU KAR-WING, RIDLEY TSUI BO-WAH / PRODUCER: RINGO LAM LING-TUNG / SCRIPT: NAM YIN / CINEMATOGRAPHERS: CHAN HON-WING, PETER NGOR CHI-KWAN, JOE CHAN KWONG-HUNG, LAU HUNG-CHUEN / EDITOR: TONY CHOW KWOK-CHUNG / CAST: CHOW YUN-FAT, SIMON YAM TAT-WAH, ANTHONY WONG CHAU-SANG / MUSIC: TEDDY ROBIN KWAN / PRODUCTION COMPANY: GOLDEN PRINCESS FILM PRODUCTION LTD / PRINT SOURCE: JOHN SNADDEN /RIGHTS: SONY PICTURES

‘Jeff (Chow Yun-fat), a tough guy with a sense of honour, saves his debt-ridden friend Sam from loan sharks. Hooking up with gay gangster Judge (Simon Yam) and his dubious henchmen, the friends are double-crossed in a violent heist. Sam saves his own skin, while Jeff is left for dead. Big mistake. When Jeff comes back, he's mad. Ringo Lam is like John Woo, but lapsed — there are none of those spiritual affectations to clog up the works.’ Time Out

警察故事III超級警察 (Ging Chat Goo Si 3: Chiu Kup Ging Chat) (Police Story 3: Supercop) 1992 M

警察故事III超級警察 (Ging Chat Goo Si 3: Chiu Kup Ging Chat) (Police Story 3: Supercop) 1992 M

Sat 26 Oct 3.00pm / Cinema A

35MM, COLOUR, MONO, 95 MINUTES, HONG KONG, CANTONESE/ENGLISH (ENGLISH SUBTITLES) / DIRECTOR: STANLEY TONG GWAI-LAI / ACTION DIRECTORS: MAK WAI-CHEUNG, DANG TAK-WING, HO HON-CHAU, CHAN MAN-CHING, SAM WONG MING-SING, STANLEY TONG GWAI-LAI, AILEN SIT CHUN-WAI / PRODUCERS: WILLIE CHAN CHI-KEUNG, EDWARD TANG GING-SANG / SCRIPT: LEE WAI-YEE, FIBE MA MEI-PING, EDWARD TANG GING-SANG / CINEMATOGRAPHER: ARDY LAM GWOK-WAH / EDITORS: CHEUNG KA-FAI, PETER CHEUNG YIU-CHUNG / CAST: JACKIE CHAN, MICHELLE YEOH, MAGGIE CHEUNG MAN-YUK / MUSIC: JONATHAN LEE CHUNG-SHING / PRODUCTION COMPANIES: GOLDEN WAY FILMS LTD, GOLDEN HARVEST PRODUCTIONS / PRINT SOURCE/RIGHTS: © 2010 FORTUNE STAR MEDIA LIMITED. ALL RIGHTS RESERVED. / SCREENING FORMAT: HDCAM

In Police Story 3: Supercop, Jackie Chan’s Ka Kui is joined by former ballet dancer and martial artist Michelle Yeoh, who came out of retirement to assume the role of a mainland policewoman. Chan’s first female co-star to perform her own stunts, Yeoh is impressive, notably performing a motorcycle jump onto a moving train in one of Jackie Chan’s best extended action sequences that spans rooftop, moving helicopter and train.

黄飞鸿之三:狮王争霸 (Wong Fei Hung ji saam: Si wong jaang ba) (Once Upon a Time in China III) 1993 PG

黄飞鸿之三:狮王争霸 (Wong Fei Hung ji saam: Si wong jaang ba) (Once Upon a Time in China III) 1993 PG

Wed 11 Sep 6.00pm / Cinema A

35MM, COLOUR, MONO, 109 MINUTES, HONG KONG, CANTONESE (ENGLISH SUBTITLES), DIRECTOR: TSUI HARK / ACTION DIRECTOR: BUN YUEN / PRODUCERS: TSUI HARK, NG SEE-YUEN / SCRIPT: TSUI HARK, CHARCOAL TAN, CHAN TIN-SUEN / CINEMATOGRAPHERS: ANDREW LAW WAI-KEUNG, CHOU MAN-KEUNG / EDITORS: MARCO MAK CHI-SIN, ANGIE LAM ON-YEE / CAST: JET LI, ROSAMUND KWAN CHI-LAM, MAX MOK SIU-CHUNG / MUSIC: WILLIAM HU WEI-LI, TSUI HARK / PRODUCTION COMPANY: PARAGON FILMS LTD. / PRINT SOURCE: AMERICAN GENRE FILM ARCHIVE / RIGHTS: © 2010 FORTUNE STAR MEDIA LIMITED. ALL RIGHTS RESERVED. 

Sergio Leone eat your heart out: this is epic action and considered the best in the Once Upon a Time in China series, which extended to six parts. Non-stop spectacular fight sequences lead up to a grand finale during a lion dance contest, with Wong Fei-hung also known for his great lion dance abilities. Locations in Beijing include the Forbidden City.

醉拳II (Jui Kuen II) (Drunken Master 2) 1994 M

醉拳II (Jui Kuen II) (Drunken Master 2) 1994 M

Sat 7 Sep 8.30pm / Cinema A

35MM, COLOUR, MONO, 102 MINUTES, HONG KONG, CANTONESE (ENGLISH SUBTITLES) / DIRECTORS/ACTION DIRECTORS: LAU KAR-LEUNG, JACKIE CHAN / PRODUCERS: EDWARD TANG GING-SANG, BARBIE TUNG WAN-SI, ERIC TSANG CHI-WAI / SCRIPT: EDWARD TANG GING-SANG, YUEN GAI-CHI, TONG MAN-MING / CINEMATOGRAPHERS: JINGLE MA CHOH-SHING, TONY CHEUNG TUNG-LEUNG, CHEUNG YIU-JO, NICO WONG MAN-WAN / EDITOR: PETER CHEUNG YIU-CHUNG / CAST: JACKIE CHAN, ANITA MUI YIM-FONG, TI LUNG / MUSIC: WILLIAM HU WEI-LI / PRODUCTION COMPANIES: PARAGON FILMS LTD., HONG KONG STUNTMAN ASSOCIATION / PRINT SOURCE: JOHN SNADDEN / RIGHTS: PARK CIRCUS

‘This transcendent pairing of classic Shaw Brothers directors Lau Kar-leung and Jackie Chan resulted in what many claim to be the greatest martial arts film ever made. In this take on the legend of Wong Fei-hung, Chan shares the screen with the great Ti Lung and also Anita Mui, who almost steals the show as his motor-mouthed stepmother. The plot revolves around Fei-hung’s attempts to foil a foreign syndicate trafficking in ancient Chinese artifacts, but the film’s jaw-dropping kung-fu sequences need little explanation.' Film Society Lincoln Center

刀 (Dao) (The Blade) 1995 MA15+

刀 (Dao) (The Blade) 1995 MA15+

Sun 29 Sep 1.00pm / Cinema A

35MM, COLOUR, MONO, 101 MINUTES, HONG KONG, CANTONESE (ENGLISH SUBTITLES) / DIRECTOR: TSUI HARK / ACTION DIRECTORS: STEP HEN TUN WAI, MANG HOI, YUEN BUN / PRODUCERS: TSUI HARK, RAYMOND CHOW / SCRIPT: KOAN HUI ON, SO MAN-SING, TSUI HARK / CINEMATOGRAPHER: VENUS KEUNG KWOK-MAN / EDITORS: TSUI HARK, KAM MA / CAST: VINCENT ZHAO WEN-ZHUO, XIONG XIN-XIN, SONG LEI / MUSIC: RAYMOND WONG YING-WAH, WILLIAM HU WEI-LI / PRODUCTION COMPANIES: FILM WORKSHOP, PARAGON FILMS LTD / PRINT SOURCE: JOHN SNADDEN / RIGHTS: PARK CIRCUS

‘Tsui Hark’s martial arts masterpiece is considered one of the towering achievements of Chinese cinema. Missing out on seeing The Blade on the big screen would be like going to the carnival and not going on the wildest ride. A masterpiece by anyone’s standards, The Blade was Tsui Hark’s last truly great film before he began 15 years of wandering in the artistic wilderness. It’s a re-imagining of Chang Cheh’s landmark 1967 One-Armed Swordsman as a phantasmagoria full of scars and tattoos, mutilation, amputation, sexual frustration, and sharp, heavy chunks of steel splitting muscle and breaking bones.’ Film Society Lincoln Center

古惑仔之人在江湖 (Gu Huo Zi: Zhi Ren Zai Jiang Hu) (Young and Dangerous) 1996 M

古惑仔之人在江湖 (Gu Huo Zi: Zhi Ren Zai Jiang Hu) (Young and Dangerous) 1996 M

Wed 30 Oct 6.00pm / Cinema A

35MM , COLOUR, MONO, 97 MINUTES, HONG KONG, CANTONESE/ENGLISH (ENGLISH SUBTITLES), DIRECTOR /ACTION DIRECTOR: ANDREW LAU WAI-KEUNG / PRODUCER/SCRIPT: MANFRIED WONG MAN-CHUN / EDITOR: MA GO / CAST: EKIN CHENG YEE-KIN, JORDAN CHAN SIU-CHUN, JERRY LAMB HIU-FUNG / MUSIC: CLARENCE HUI YUEN / PRODUCTION COMPANY: JING’S PRODUCTION LTD / PRINT SOURCE/RIGHTS: PARK CIRCUS

Based on the comic strip Teddy Boy 1992 by Cowman and Dickey Yau, this is the first adaptation in a highly popular film franchise. Young and Dangerous is set in Hong Kong’s fast-paced world of organised crime. A group of young students joins the triad society after falling foul of a psychotic killer from a rival gang. A visually frenetic melding of friendship, loyalty and violence, the film has been heavily criticised for glamourising the triad lifestyle.

高度戒備 (Go Do Gaai Bei) (Full Alert) 1997 MA15+

高度戒備 (Go Do Gaai Bei) (Full Alert) 1997 MA15+

Sun 27 Oct 1.00pm / Cinema A

35MM, COLOUR, DOLBY DIGITAL, 98 MINUTES, HONG KONG, MANDARIN/CANTONESE (ENGLISH SUBTITLES) / DIRECTOR/ACTION DIRECTOR: RINGO LAM LING-TUNG / PRODUCER: KUO-HSING LI, JOE MA / SCRIPT: LAU WING-KIN, RINGO LAM LING-TUNG / CINEMATOGRAPHER: ARDY LAM GWOK-WAH / EDITORS: MARCO MAK CHI-SIN, ANGIE LAM ON-YEE / CAST: LAU CHING-WAN, FRANCIS NG CHUN-YU, AMANDA LEE WAI-MAN / PRODUCTION COMPANY: BRILLIANT IDEA GROUP LTD / PRINT SOURCE/RIGHTS: MEI AH ENTERTAINMENT

‘Like John Woo's Face/Off, Full Alert is an action thriller in which a police inspector hunts a criminal mastermind and vice versa. Kwan, a former expert in blowing up old buildings, is in jail for murder but has huge influence outside the gates. When Kwan spectacularly escapes, it is inspector Pao's job to get him back behind bars. Full Alert is technically flawless and contains everything you could wish for from the genre: smoking policemen in blue-lit Venetian-blinded offices, spectacular explosions, a sensational gold Mercedes shoot-out pursuit, psychological warfare and plenty of quotable tough language.’ International Film Festival Rotterdam

真心英雄 (Chan Sam Ying Hung) (A Hero Never Dies) MA15+

真心英雄 (Chan Sam Ying Hung) (A Hero Never Dies) MA15+

Fri 11 Oct 6.00pm / Cinema A

35MM, COLOUR, DOLBY DIGITAL, 86 MINUTES, HONG KONG, CANTONESE/ENGLISH/THAI (ENGLISH SUBTITLES), DIRECTOR: JOHNNIE TO KEI-FUNG / ACTION DIRECTOR: YUEN BUN / PRODUCERS: JOHNNIE TO KEI-FUNG, WAI KA-FAI / SCRIPT: YAU NAI-HOI, SZETO KAM-YUEN / CINEMATOGRAPHER: CHENG SIU-KEUNG / EDITOR: ANDY CHAN CHI-WAI / CAST: LAU CHING-WAN, LEON LAI MING / MUSIC: RAYMOND WONG YING-WAH / PRODUCTION COMPANIES: MILKYWAY IMAGE LTD, FILM CITY LTD / PRINT SOURCE/RIGHTS: UNIVERSE FILMS DISTRIBUTION CO.

‘Extreme, violent and unforgiving, A Hero Never Dies is a thriller in the form of a modern-day Western - a rarified, metaphysical no-man’s-land of brutal powerplay in which two professional killers are caught up in a ferocious, endless fight between rival triads. Johnnie To centres the film emotionally on the two hired guns. In the first half of the film, their only objective is to kill each other; in the second half, their only objective is to kill those who betrayed them. In a long sequence that’s among the most beautiful and mysterious in Hong Kong action cinema, the two face off in a bar decorated like a Western saloon - a tribute to To’s ability to create a sense of tragic expectation through his elegant and highly stylised direction.' Sabrina Baraccetti, Far East Film Festival

古惑仔情義篇之洪興十三妹 (Goo Waak Chai Ching Yee Pin Ji Hung Hing Sap Saam Mooi) (Portland Street Blues) 1998 Ages 18+

古惑仔情義篇之洪興十三妹 (Goo Waak Chai Ching Yee Pin Ji Hung Hing Sap Saam Mooi) (Portland Street Blues) 1998 Ages 18+

Wed 30 Oct 8.00pm / Cinema A

35MM , COLOUR, STEREO, 114 MINUTES, HONG KONG, CANTONESE/ENGLISH (ENGLISH SUBTITLES), DIRECTOR: RAYMOND YIP WAI-MAN / ACTION DIRECTOR: ADAM CHAN CHUNG-TAI / PRODUCER: MANFRED WONG MAN-CHUN / SCRIPT: MANFRED WONG MAN-CHUN, PATRICK KONG PAK-LEUNG / CINEMATOGRAPHER: LAI YIU-FAI / EDITOR: MA GO / CAST: SANDRA NG KWUN-YU, KRISTY YEUNG KUNG-YU, ALEX FONG CHUNG-SUN / MUSIC: DO CHI-CHI / PRODUCTION COMPANY: EVERWIDE LTD / PRINT SOURCE/RIGHTS: ORANGE SKY GOLDEN HARVEST

‘In Portland Street Blues, the two most important Young and Dangerous gangs, Hung Hing and Tong Sing, have just ended a war. Sister Thirteen (the amazing Sandra Ng), the only woman of the twelve gang members, tries to rescue her girlfriend Sa Sa from the rival gang. Through betrayals and flashbacks, the acting is stunning. “Thirteen's reunions with Yun (Kristy Yeung) and Coke (Alex Fong), the two people she has deeply loved and irrevocably lost, are written and played with such depth of feeling that you almost have to look away”, says Tony Rayns. “Best of all is the figure of Thirteen herself: a plausible, non-iconic dyke at the centre of a realistic, mainstream thriller.”' International Film Festival Rotterdam

鎗火 (Cheung Fo) (The Mission) 1999 Ages 18+

鎗火 (Cheung Fo) (The Mission) 1999 Ages 18+

Fri 11 Oct 8.00pm / Cinema A

35MM, COLOUR, STEREO, 81 MINUTES, HONG KONG, CANTONESE (ENGLISH SUBTITLES), DIRECTOR: JOHNNIE TO KEI-FUNG / ACTION DIRECTOR: CHENG KA-SANG / SCRIPT: YAU NAI-HOI, MILKYWAY CREATIVE TEAM / CINEMATOGRAPHER: CHENG SIU-KEUNG / EDITOR: ANDY CHAN CHI-WAI / CAST: ANTHONY WONG CHAU-SANG, FRANCIS NG CHUN-YU, JACKIE LUI CHUNG-YIN / MUSIC: CHUNG CHI-WING / PRODUCTION COMPANY: MILKYWAY IMAGE LTD / PRINT SOURCE: AMERICAN GENRE FILM ARCHIVE / RIGHTS: SUBWAY CINEMA

‘Five of Hong Kong’s top character actors take centre stage in this steadily crafted assassin’s tale that pays tribute to the male-bonding actioners of Howard Hawks, Don Siegel, and Akira Kurosawa (To cites Seven Samurai as an inspiration). The Mission follows a motley assortment of gunmen — an ice-cold hairdresser, a hard-wired bartender, a pimp, “the rookie” and “the veteran” — quickly assembled to keep a triad leader alive. Leaving the pyrotechnics aside, except for a few memorable, almost mathematically staged gunfights (getting all five bodyguards in one shot is To’s obsession), the film concentrates on the downtime between the bullets, when the men kill time, make jokes, and bond.’ Jason Sanders, Pacific Film Archive

無間道 (Mou Gaan Dou) (Infernal Affairs) 2002 M

無間道 (Mou Gaan Dou) (Infernal Affairs) 2002 M

Fri 1 Nov 6.00pm and Wed 6 Nov 6.00pm / Cinema A

35MM, BLACK AND WHITE AND COLOUR, DOLBY DIGITAL, 97 MINUTES, HONG KONG, CANTONESE/ENGLISH/THAI (ENGLISH SUBTITLES), DIRECTORS: ANDREW LAU WAI-KEUNG, ALAN MAK SIU-FAI / ACTION DIRECTOR: DION LAM DIK-ON / PRODUCER: ANDREW LAU WAI-KEUNG / SCRIPT: ALAN MAK SIU-FAI, FELIX CHONG MAN-KEUNG / CINEMATOGRAPHERS: ANDREW LAU WAI-KEUNG, LAI YIU-FAI, CHRISTOPHER DOYLE / EDITORS: DANNY PANG FAT, CURRAN PANG CHING-HAY / CAST: ANDY LAU TAK-WAH, TONY LEUNG CHIU-WAI, ANTHONY WONG CHAU-SANG / MUSIC: COMFORT CHAN KWONG-WING / PRODUCTION COMPANY: MEDIA ASIA FILM COMPANY LTD / PRINT SOURCE/RIGHTS: MADMAN ENTERTAINMENT

‘A box-office smash in Hong Kong, Infernal Affairs is a modern masterpiece of the crime thriller. Superstars Tony Leung Chiu-wai and Andy Lau play a pair of undercover moles who, unbeknownst to each other, have burrowed their way deep into the other's organisation: cop Leung into a triad society, triad member Lau into the police department. The two men engage in a deadly and intricate game of cat-and-mouse, each trying to root out the other before his cover gets blown. Deliciously twisty and shot with a striking visual sheen, Infernal Affairs was followed by two sequels and was remade in the US by Martin Scorsese as The Departed.’ TIFF Cinémathèque

无间道Ⅱ(Mou gaan dou II) (Infernal Affairs 2) 2003 MA15

无间道Ⅱ(Mou gaan dou II) (Infernal Affairs 2) 2003 MA15

Fri 1 Nov 8.15pm / Cinema A

35MM, COLOUR, DOLBY DIGITAL, 119 MINUTES, HONG KONG/CHINA/SINGAPORE, CANTONESE/ENGLISH/MANDARIN/THAI (ENGLISH SUBTITLES), DIRECTORS: ANDREW LAU WAI-KEUNG, ALAN MAK SIU-FAI / ACTION DIRECTOR: LEE TAT-CHIU / PRODUCER: ANDREW LAU / SCRIPT: ALAN MAK, FELIX CHONG / CINEMATOGRAPHERS: ANDREW LAU, NG MAN CHING / EDITORS: DANNY PANG, CURRAN PANG / CAST: ANTHONY WONG, ERIC TSANG, FRANCIS NG / PRODUCTION COMPANY: MEDIA ASIA FILMS LTD / PRINT SOURCE/RIGHTS: MADMAN ENTERTAINMENT

Infernal Affairs 2 ups the stakes spectacularly. Edison Chen plays the young Andy Lau and Shawn Yue plays a young Tony Leung, but the movie belongs to their duelling father figures: Eric Tsang as the despotic triad mastermind, and Anthony Wong as the kind, patient cop who is Tony Leung’s handler. IA2 turns the first film upside down, revealing that the heroes of IA1 are amoral villains who’ll do anything for a promotion, and that the villains are decent men trying to make the best of intolerable situations. The intense Francis Ng joins the cast as a straight-laced son who, reluctantly, takes over the triad after his father is killed, and Carina Lau plays Eric Tsang’s ambitious wife. A hot-blooded throwback to the big, actor-intensive cop dramas of the 1970s, Infernal Affairs 1 and 2 writes its story in burning blood, on paper made of ice. It’s a one-two punch of cinematic greatness.’ New York Asian Film Festival

功夫 (Kung Fu) (Kung Fu Hustle) 2004 MA 15+

功夫 (Kung Fu) (Kung Fu Hustle) 2004 MA 15+

Sat 19 Oct 8.30pm / Cinema A

35MM, COLOUR, DOLBY DIGITAL, 99 MINUTES, HONG KONG/CHINA, CANTONESE, DIRECTOR: STEP HEN CHOW SING-CHI / ACTION DIRECTORS: YUEN WOO-PING, SAMMO HUNG KAM-BO / PRODUCERS: STEPHEN CHOW SING-CHI, JEFF LAU CHUN-WAI, CHUI BO-CHU, HAN SAN-PING, WANG ZHONG-LEI / SCRIPT: TSANG KAN-CHEUNG, CHAN MAN-KEUNG, STEPHEN CHOW SING-CHI, LOLA HUO XIN / CINEMATOGRAPHERS: POON HANG-SANG, RAY WONG CHI-WAI / EDITOR: ANGIE LAM ON-YEE / CAST: STEPHEN CHOW SING-CHI, YUEN WAH, YUEN QIU / MUSIC: RAYMOND WONG YING-WAH / PRODUCTION COMPANIES: THE STAR OVERSEAS LTD, BEIJING FILM STUDIO OF CHINA FILM GROUP CORPORATION, HUAYI BROTHERS & TAIHE FILM INVESTMENT CO, FOURTH PRODUCTION COMPANY CHINA FILM GROUP CORPORATION / PRINT SOURCE: NATIONAL FILM AND SOUND ARCHIVE AUSTRALIA /RIGHTS: AMALGAMATED MOVIES

‘Stephen Chow’s Kung Fu Hustle follows the antics of the notorious Axe Gang. Chow plays Sing, an aspiring hoodlum with bigger dreams than talent, trying hard to make a name for himself amongst the criminal elite. The Axe Gang controls nearly everything, except for Pig Sty Alley, a tenement block for the downtrodden. It's here that Sing amateurishly acts the hoodlum. Much of the humour springs from the exaggeration of action that would be taken perfectly seriously in any other martial arts film, with bodies flying all over the screen.’ Sydney Morning Herald

旺角黑夜 (Wong Gok Hak Je) (One Nite in Mongkok) 2004 MA 15+

旺角黑夜 (Wong Gok Hak Je) (One Nite in Mongkok) 2004 MA 15+

Sat 2 Nov 1.00pm and Wed 6 Nov 8.00pm / Cinema A

35MM, BLACK AND WHITE AND COLOUR, DOLBY DIGITAL, 110 MINUTES, HONG KONG, CANTONESE/MANDARIN (ENGLISH SUBTITLES), DIRECTOR: DE REK YEE TUNG-SING / ACTION DIRECTOR: CHIN KA-LOK / PRODUCER: HENRY FONG PING / CINEMATOGRAPHERS: VENUS KEUNG KWOK-MAN, CHAN WAI-LIN / EDITOR: CHEUNG FA-FAI / CAST: CECILIA CHEUNG PAK-CHI, DANIEL WU YIN-CHO, ALEX FONG CHUNG-SUN / MUSIC: PETER KAM PAU-TAT / PRODUCTION COMPANIES: FILM UNLIMITED, SIL-METROPOLE ORGANISATION, UNIVERSE FILMS DISTRIBUTION COMPANY LTD / PRINT SOURCE/RIGHTS: UNIVERSE FILMS DISTRIBUTION COMPANY LTD

‘Director Derek Yee shifted gear into gripping thriller territory with One Nite in Mongkok, a gangland tale set in motion when a triad war escalates in Hong Kong’s most crowded and colourful district. An assassin from the mainland is hired by a gang boss to kill a rival leader, but plans start to go awry when the killer, Lai Fu (Daniel Wu), crosses paths with Chinese prostitute Dan Dan (Cecilia Cheung) and protects her from a rough customer. From street scuffles through chance encounters, One Nite in Mongkok tracks to a breathtaking conclusion.’ Far East Film Festival

柔道龍虎榜 (Yau Doh Lung Fu Bong) (Throw Down) 2004 M

柔道龍虎榜 (Yau Doh Lung Fu Bong) (Throw Down) 2004 M

Sun 13 Oct 1.00pm / Cinema A

35MM, COLOUR, DOLBY DIGITAL, 95 MINUTES, HONG KONG/CHINA, CANTONESE/ENGLISH/JAPANESE (ENGLISH SUBTITLES), DIRECTOR: JOHNNIE TO KEI-FUNG / ACTION DIRECTOR: YUEN BUN / PRODUCERS: JOHNNIE TO KEI-FUN, STEPHEN LAM BING-KWAN / SCRIPT: YAU NAI-HOI, YIP TIN-SHING, AU KIN-YEE / CINEMATOGRAPHERS: CHENG SIU-KEUNG, TO HUNG-MO / EDITOR: DAVID RICHARDSON / CAST: LOUIS KOO TIN-LOK, AARON KWOK FU-SING, CHERRIE YING CHOI-YI, TONY LEUNG KA-FAI / MUSIC: PETER KAM PAU-TAT / PRODUCTION COMPANIES: CHINA STAR ENTERTAINMENT, SIL-METROPOLE ORGANISATION, ONE HUNDRED YEARS OF FILM COMPANY, MILKY WAY IMAGE COMPANY / PRINT SOURCE: NATIONAL FILM AND SOUND ARCHIVE, AUSTRALIA / RIGHTS: © 2010 FORTUNE STAR MEDIA LIMITED. ALL RIGHTS RESERVED.

'Ex-judo champion Szeto has exiled himself from the frenetic high-powered judo world, whiling away his nights in a drunken stupor until a chance for redemption arrives in the youthful forms of feisty Tony and aspiring singer Mona. A few hundred judo fights later, and nearly everyone is still left standing, albeit with their arms in slings. Taking the usual gangster milieu and lightening it up until it’s nearly parodic (“the gentle way” is the Chinese idiom for judo), Throw Down is arguably To’s most pleasurable, accessible film, a tribute to the kind of old-fashioned storytelling in which tales of outlaws and drifters still have room for redemption, humor and sentiment.’ Jason Sanders, Pacific Film Archive

大事件 (Daai Si Gin) (Breaking News) 2004 M

大事件 (Daai Si Gin) (Breaking News) 2004 M

Sun 13 Oct 3.00pm / Cinema A

35MM, COLOUR, DOLBY DIGITAL, 90 MINUTES, HONG KONG/CHINA, CANTONESE/MANDARIN/ENGLISH (ENGLISH SUBTITLES), DIRECTOR: JOHNNIE TO KEI-FUNG / ACTION DIRECTOR: YUEN BUN / PRODUCERS: JIANG TAO, JOHNNIE TO KEI-FUNG, CAO BIAO / SCRIPT: YIP TIN-SHIONG, CHAN HING-KAR, MILKYWAY CREATIVE TEAM / CINEMATOGRAPHERS: CHENG SIU-KEUNG, TO HUNG-MO / EDITOR: DAVID RICHARDSON / CAST: KELLY CHAN WAI-LAM, NICK CHEUNG KA-FAI / MUSIC: CHUNG CHI-WING, BEN CHEUNG SIU-HUNG / PRODUCTION COMPANY: MILKYWAY IMAGE LTD / PRINT SOURCE/RIGHTS: MADMAN ENTERTAINMENT

‘To’s Cannes-selected detective thriller/media critique announces its auteurist intentions immediately, with a nearly ten-minute-long take comparable to the labyrinthine opening of Touch of Evil. Floating up from a Hong Kong street into a bank robber’s lair and then down again, the shot moves from stakeout to shootout, calm to killing, criminals to detectives, and introduces the film’s themes of violence, entrapment, and escape as seen through media manipulation. After the gang humiliates a police officer on live television during a botched raid, Captain Fong (Cantopop icon Kelly Chen) decides to broadcast their ultimate capture, to showcase the force’s eventual efficiency. Unfortunately things don’t go quite as planned, especially once lone-wolf Inspector Cheung (Nick Cheung) gets involved, and the criminals seize their own media outlet.’ Jason Sanders, Pacific Film Archive

黑社會 (Hak Se Wui) (Election) 2005 MA15+

黑社會 (Hak Se Wui) (Election) 2005 MA15+

Sat 12 Oct 6.00pm and Wed 23 Oct 6.00pm / Cinema A

35MM, COLOUR, DOLBY DIGITAL, 101 MINUTES, HONG KONG, CANTONESE/MANDARIN/ ENGLISH (ENGLISH SUBTITLES), DIRECTOR: JOHNNIE TO KEI-FUNG / ACTION DIRECTOR: WONG CHI-WAI /  PRODUCERS: JOHNNIE TO KEI-FUNG, DENNIS LAW SAU-YIU / SCRIPT: YAU NAI-HOI, YIP TIN-SHING / CINEMATOGRAPHERS: CHENG SIU-KEUNG, TO HUNG-MO / EDITOR: PATRICK TAM KAR-MING / CAST: SIMON YAM TAT-WAH, TONY LEUNG KA-FAI, LOUIS KOO TIN-LOK / MUSIC: LAW DAAI-YAU / PRODUCTION COMPANIES: MILKYWAY IMAGE LTD, ONE HUNDRED YEARS OF FILM COMPANY LTD / PRINT SOURCE/RIGHTS: HOPSCOTCH FILMS

'The Election diptych is a perfect display of To's mastery, dispensing with the sentimental notion of honour among thieves that marks so many gangster films and capturing the nakedly amoral lust for power at the dark heart of the organised criminal society. Featuring a stellar cast of To veterans including Simon Yam, Tony Leung Ka-fai and Louis Koo, the two films constitute a sprawling crime epic that traces the power plays, betrayals and retributions of high-level gangsters battling to fill the power vacuum left after the leadership of their triad society comes up for grabs. Though the films were shot and released separately, Election 2 2006 is not a sequel to the first film, but the essential tying-up of its many intricate narrative strands, making it imperative to view both films together.’ TIFF Cinémathèque

黑社會以和為貴 (Hak Se Wui Yi Wo Wai Kwai) (Election 2) 2006 MA15+

黑社會以和為貴 (Hak Se Wui Yi Wo Wai Kwai) (Election 2) 2006 MA15+

Sat 12 Oct 8.15pm and Wed 23 Oct 8.00pm / Cinema A

35MM, BLACK AND WHITE AND COLOUR, DOLBY DIGITAL, 92 MINUTES, HONG KONG, MANDARIN/CANTONESE (ENGLISH SUBTITLES), DIRECTOR: JOHNNIE TO KEI-FUNG / ACTION DIRECTOR: LING CHUN-PONG / PRODUCERS: DENNIS LAW SAU-YIU, JOHNNIE TO KEI-FUNG / SCRIPT: YAU NAI-HOI, YIP TIN-SHING / CINEMATOGRAPHERS: CHENG SIU-KEUNG, TO HUNG-MO / EDITORS: LAW WING-CHEONG, JEFF CHEUNG KA-KIT / CAST: SIMON YAM TAT-WAH, LOUIS KOO TIN-LOK, WONG TIM-LAM / MUSIC: LAW DAAI-YAU, ROBERT ELLIS-GEIGER / PRODUCTION COMPANIES: MILKYWAY IMAGE LTD, ONE HUNDRED YEARS OF FILM COMPANY LTD / PRINT SOURCE/RIGHTS: HOPSCOTCH FILMS / SCREENING FORMAT: DIGITAL BETACAM

‘The Election sequel is an altogether darker and chillier affair, merciless in tone and claustrophobic, which for all its stylishness never romanticises. If Woo's heroes were often noble, even Christ-like knights, sacrificing themselves to a cruel system on behalf of the innocents they loved, in To's movies no-one is innocent, and the social corruption reaches down into the soul.’ Andrew O'Hehir, Salon

 東邪西毒 (Dung Che Sai Duk) (Ashes of Time Redux) 1994/2008 M

東邪西毒 (Dung Che Sai Duk) (Ashes of Time Redux) 1994/2008 M

Sat 28 Sep 8.15pm / Cinema A

35MM, COLOUR, MONO, 100 MINUTES, HONG KONG/TAIWAN, CANTONESE/MANDARIN (ENGLISH SUBTITLES), DIRECTOR/SCRIPT: WONG KAR-WAI / ACTION DIRECTOR: SAMMO HUNG KAM-BO / PRODUCERS: CATHERINE CHAN SI-KAN, JEFF LAU CHUN-WAI, SHU KEI / CINEMATOGRAPHERS: CHRISTOPHER DOYLE, ANDREW LAU WAI-KEUNG, CHAN YUEN-KAI / EDITORS: HAI KIT-WAI, KWONG CHI-LEUNG, WILLIAM CHANG SUK-PING, PATRICK TAM KAR-MING / CAST: LESLIE CHEUNG KWOK-WING, TONY LEUNG KA-FAI, BRIGITTE LIN CHING-HSIA, TONY LEUNG CHIU-WAI / MUSIC: FRANKIE CHAN KAN-FAI, ROEL A GARCIA / PRODUCTION COMPANIES: BEIJING FILM STUDIO, TSUI SIU MING PRODUCTION LTD, SCHOLAR FILMS CO. LTD, PONY CANYON INC. / PRINT SOURCE/RIGHTS: MADMAN ENTERNTAINMENT

Ashes of Time is loosely based on a wuxia novel by Louis Cha. Ouyang Feng is a hitman who has retired into the desert but is visited by vagrants and swordsmen. Each has a story to tell about unrequited love and heartache, with episodes following the changing seasons. It is only in the last episode on Ouyang Feng himself that we find out about the unrequited love that caused his own retreat into the desert. Wong Kar-wai's martial arts epic is a visually stunning meditation on love and memory and a veritable orgy of sound and colour.’ Offscreen

葉問 (Yip Man) (Ip Man) 2008 M

葉問 (Yip Man) (Ip Man) 2008 M

Sat 2 Nov 6.00pm / Cinema A

35MM, COLOUR, DOLBY DIGITAL, 106 MINUTES, HONG KONG/CHINA, CANTONESE/ MANDARIN/JAPANESE (ENGLISH SUBTITLES), DIRECTOR: WILSON YIP WAI-SHUN / ACTION DIRECTORS: SAMMO HUNG KAM-BO, TONY LEUNG SIU-HUNG / PRODUCER: RAYMOND WONG PAK-MING / SCRIPT: EDMOND WONG CHI-MUN, CHAN TAI-LI / CINEMATOGRAPHERS: O SING-PUI, CAHN SIU-GWAN / EDITOR: CHEUNG KA-FAI / CAST: DONNIE YEN JI-DAN, SIMON YAM TAT-WAH, LYNN HUNG DOI-LAM / MUSIC: KAWAI KENJI / PRODUCTION COMPANIES: BEIJING SHENGSHI HUAREI FILM INVESTMENT & MANAGEMENT CO., CHINA FILM CO-PRODUCTION CORPORATION, MANDARIN FILMS DISTRIBUTION CO, NEW FILM STUDIO OF BEIJING STARLIGHT INTERNATIONAL MEDIA CO. LTD., SHANGHAI FILM GROUP, TIME ANTAEUS MEDIA GROUP / PRINT SOURCE: NATIONAL FILM & SOUND ARCHIVE AUSTRALIA / RIGHTS: MAGNUM FILMS

‘Wilson Yip has crafted a gripping, beautifully structured yarn, built around a charismatic star performance by Donnie Yen and magnificent action sequences choreographed by the legendary Sammo Hung. Ip Man (aka Yip Man) . . . spent much of his later life as a revered Hong Kong kung-fu master, who popularised the wing chun style he brought with him from the southern Chinese city of Foshan. Ip is most famous as the principal teacher and mentor of a San Francisco-born kid named Lee Siu-lung, better known to the world as Bruce Lee. Ip Man is more legend than biopic, with a resolute, ass-kicking hero who represents Chinese resistance to the notoriously cruel Japanese occupation of the late 1930s.’ Andrew O’Hehir, Salon

葉問2:宗師傳奇(Yip Man 2: Zung Si Cyun Kei) (Ip Man 2) 2010 M

葉問2:宗師傳奇(Yip Man 2: Zung Si Cyun Kei) (Ip Man 2) 2010 M

Sat 2 Nov 8.15pm / Cinema A

35MM, COLOUR, DOLBY DIGITAL, 108 MINUTES, HONG KONG/CHINA, CANTONESE/ MANDARIN/ENGLISH (ENGLISH SUBTITLES), DIRECTOR: WILSON YIP WAI-SHUN / ACTION DIRECTOR: SAMMO HUNG KAM-BO, ALLEN LAN HAI-HAN / PRODUCERS: RAYMOND WONG PAK-MING, LEE XIN, AN XIAO-FEN / SCRIPT: EDMOND WONG CHI-MUNG, CHAN TAI-LI, CHOI HIU-YAN / CINEMATOGRAPHERS: POON HANG-SANG, CHOW LIN-YAU / EDITOR: CHEUNG KA-FAI / CAST: DONNIE YEN JI-DAN, HUANG XIAO-MING, SAMMO HUNG KAM-BO / MUSIC: KAWAI KENJI / PRODUCTION COMPANIES: BEIJING SHENGSHI HUARUI FILM INVESTMENT & MANAGEMENT CO, HENAN FILM & TV PRODUCTION GROUP, DESEN INTERNATIONAL MEDIA, DONLORD SKYKEE FILM INVESTMENT / PRINT SOURCE/RIGHTS: MAGNUM FILMS

‘In this explosive sequel, Ip Man (Donnie Yen) arrives in Hong Kong in 1949, only to discover that martial arts schools there operate like triads rather than respectable institutions. His efforts to teach his wing chun discipline meet resistance from Master Hung (Sammo Hung), a fellow kung-fu master. However, he takes solace in his bright student Leung (Chen Dao Ming). As a conflict brews and tempers flare, an English boxing champ (Darren Shahlavi) insults the Chinese people and challenges the whole establishment to an East vs. West showdown.’ Chinese American Film Festival

劍雨 (Gim Yu) (Reign of Assassins) 2010 MA15+

劍雨 (Gim Yu) (Reign of Assassins) 2010 MA15+

Fri 8 Nov 6.00pm / Cinema A

35MM, COLOUR, DOLBY DIGITAL, 117 MINUTES, CHINA/TAIWAN/HONG KONG, MANDARIN (ENGLISH SUBTITLES), DIRECTOR: SU CHAO-PIN / ACTION DIRECTOR: STEPHEN TUNG WAI / PRODUCERS: IVY ZHONG LI-FANG, TINA SHI XIAO-YE, LORRAINE HOH LAI-SEUNG / CINEMATOGRAPHERS: HORACE WONG WING-HANG, CHEUNG MAN-PO, LAI YIU-FAI, NG MAN-CHING, NG MAN-JUEN / EDITOR: CHEUNG KA-FAI / CAST: MICHELLE YEOH, JUNG WOO-SUNG, WANG XUE-QI / MUSIC: PETER KAM PAU-TAT / PRODUCTION COMPANY: LION ROCK PRODUCTIONS / PRINT SOURCE/RIGHTS: MADMAN ENTERTAINMENT

‘The most deadly and ruthless assassin of the Dark Stone gang seeks to atone for her murderous ways and leave the gang forever. Undergoing a drastic procedure to alter her appearance, she changes her name to Jing (Michelle Yeoh) and starts a new life in the capital. However, the Dark Stone gang is hot on her trail as she alone holds the secret of the mystical monk’s remains, possession of which will offer control of the whole world. The gang will stop at nothing in their pursuit to control this power.’ Madman Entertainment

武俠 (Mou Haap) (Wu Xia) 2011 MA15+

武俠 (Mou Haap) (Wu Xia) 2011 MA15+

Fri 8 Nov 8.30pm / Cinema A

35MM, COLOUR, DOLBY DIGITAL, 114 MINUTES, HONG KONG/CHINA, MANDARIN (ENGLISH SUBTITLES), DIRECTOR: PETER CHAN HO-SUN / ACTION DIRECTORS: DONNIE YEN JI-DAN, YAN HUA, TANIGAKI KENJI / PRODUCERS: PETER CHAN HO-SUN, JOJO HUI YUET-CHUN / SCRIPT: AUBREY LAM OI-WA, JOYCE CHAN KA-YI / CINEMATOGRAPHERS: LAI YIU-FAI, JAKE POLLOCK, YANG ZHEN-YU / EDITOR: DEREK HUI WANG-YU / CAST: DONNIE YEN JI-DAN, KANESHIRO TAKESHI, TANG WEI, JIMMY WANG YU / MUSIC: COMFORT CHAN KWONG-WING, PETER KAM PAU-TAT, CHATCHAI PONGRAPAPHAN / PRODUCTION COMPANY: WE PICTURES / PRINT SOURCE/RIGHTS: CHINA LION FILM DISTRIBUTION / SCREENING FORMAT: DIGITAL BETACAM

‘This brisk and twisty actioner, though set in 1917 China, begins in CSI territory, with forensically minded acupuncturist Takeshi Kaneshiro dispatched to investigate after lowly paper-maker Donnie Yen kills a notorious criminal with an innocuous blow to the head. The character study that follows . . . has clear DNA traces of Cronenberg's A History of Violence.’ Mike McCahill, The Guardian

寒戰 (Han Zhan) (Cold War) 2012 Ages 18+

寒戰 (Han Zhan) (Cold War) 2012 Ages 18+

Sun 27 Oct 3.00pm / Cinema A

35MM, COLOUR, DOLBY DIGITAL, 102 MINUTES, HONG KONG, CANTONESE (ENGLISH SUBTITLES), DIRECTORS: SUNNY LUK KIM-CHING, LONGMOND LEUNG LOK-MAN / ACTION DIRECTORS: CHIN KA-LOK, WONG WAI-FAI / PRODUCERS: BILL KONG CHI-KEUNG, MATHEW TANG HON-KEUNG, IVY HO WAN-MING, CATHERING KWAN TUN-TIU / CINEMATOGRAPHERS: JASON KWAN CHI-YIU, KENNY TSE CHUNG-TO / EDITORS: KWONG CHI-LEUNG, WONG HOI / CAST: AARON KWOK FU-SING, TONY LEUNG KA-FAI, CHARLIE YEUNG CHOI-NEI / MUSIC: PETER KAM PAU-TAT / PRODUCTION COMPANIES: SIL-METROPOLE ORGANISATION LTD, EDKO FILMS LTD, IRRESISTIBLE FILMS / PRINT SOURCE/RIGHTS: MAGNUM FILMS / SCREENING FORMAT: DCP

'Five Hong Kong police officers are kidnapped. As the chief of Police Affairs is on business trip, two deputy chiefs, Sean Lau and MB Lee, set out to solve the case. They are in competition for the chief position and distrust each other. The two end up being under ICAC (Independent Commission Against Corruption) investigation. Looking closely at the conflict between human desires and conscience, rather than the rivalry between good and evil, Cold War is a psychological thriller.’ Kim Ji-Seok, Busan International Film Festival