Josephine Siao Fong-Fong

A Hong Kong Jane Bond film starring Josephine Siao.

In realising their scheme to rule the underworld, the Poisonous Snake Gang breeds the 'Blue Poisonous Bees' and sends Red Rose to the Flying Dragon Gang to execute the 'Flying Sting' mission. Chased by Lung King-tin, both of them are captured by Anna Tai of the Female Monster Gang. The three gangs fight for the possession of a nuclear pistol and allegiances shift as the agents fall in love.

The hero Fong Sai Yuk becomes involved in the secret brotherhood "The Red Flower", who are trying to overthrow the Manchurian emperor and re-establishing the Ming dynasty. The social upheaval is combined with Sai Yuk's personal moral conflict about how to conform to the rigid regime of the brotherhood and on top of that sort out his difficult love life, saddled with two presumptive wives.

The secret Red Lotus Flower Society is committed to the overthrow of the evil Manchu Emperor and his minions. One of his Governors is sent on a mission to retrieve a list of members of that secret society. Meanwhile, Canton kung fu practitioner Fong Sai-Yuk falls in love with the beautiful daughter of a rich merchant.

Po-Chih Leong's debut film was a trendsetter in Hong Kong cinema. Shot from the shoulder, the fast-moving world of cops, informers, drug dealers and other crooks are evoked in a very lively and realistic way. The action all takes place in carefully selected locations, among them the walled city of Kowloon and Yuen Long. The film looks like a documentary and evokes the kind of excitement usually seen in news programmes. The story focuses on the battle between two gangs and starts in Amsterdam, where one of the gang leaders is murdered.

Siao Fong-fong, who played the heroine Sha Yen, was a young actress who enjoyed huge popularity at that time. The Daring Gang of Nineteen from Verdun City (aka 19 Heroes of the Green Mountain) portrays how Sha Yen practices kung fu with her eighteen fellow male disciples, vowing to seek revenge for the murder of her parents. Produced by Hsin Hwa Motion Picture Company in Hong Kong, it was shot in Taiwan and featured the local landscape. The credits show that renowned director Sung Tsun-shou worked as script supervisor on the production. The theme, “avenging the murder of one’s parents”, is typical of a traditional martial arts movie. Siao Fong-fong as a lovely young swordswoman in the film left a deep impression on countless fans.

This documentary tells the story of Bruce Lee and his unsuccessful efforts to start a acting career in the U.S., he returned to Hong Kong where he became an international star, and his death at age 32.

Tells the story of the relationship between a widower with Alzheimer's disease and his daughter-in-law, May Sun, who is a housewife in her forties trying cope with the upheavals in her family.

After the total defeat of his love rival, Ching must now deal with the love rival's brother, Wan To, who seeks revenge against him. When Ching is ambushed by Wan To and his gang in the streets and is at risk, he is rescued and treated by an apprentice of his, Beef Skin, and his feisty sister, Beef Stew. It turns out those two are even harder to handle than Wan To.

Rhythm of the Wave

Bat Girl (Josephine Siao) returns from Singapore to Hong Kong as the singer Barbara to investigate her dad, a trapeze artist’s death. She is orphaned. She stays with her aunt. Her cousin is Sze Wai (Lui Kei), a pulp fiction writer of the superhero, Bat Girl. Encountering injustice, Bat Girl confronts Sze to interrogate about the whereabouts of Wu Wan-Lung (Sek Kin). Bat Girl unites with her friend, Chan Kwong-ying (Lydia Shum). Sze tracks down Bat Girl and is involved in a fight with Lung's marksmen in a nightclub. A private detective, James Bond (Cheng Kwun-Min) helps Lung find Bat Girl to no avail, as she appears in guises. Bat Girl eavesdrops on Lung and realises he was her father's murderer. She revenges on Lung, and a strange female creature (Yung Yuk-yi) appears as the Lung's house's owner. The creature finds that Bat Girl is her daughter. She wrestles with Lung and they are both burnt to death. At last, Sze finds out that his cousin is Bat Girl and they begin a romance.

The "Hu-Du-Men" (loosely translated as "stage door") is an imaginary line separating the stage from reality, and a line that must be crossed each and every night by Sum (Josephine Siao), the aging star of a Cantonese Opera troupe. Nearing the twilight of a storied career, Sum must face a variety of challenging new obstacles, including the possible emigration of her family come 1997, the appearance of a promising young actress (Anita Yuen), the hiring of a Western-schooled stage director (David Wu), the surprising revelation of her daughter's sexuality, and finally the reappearance of a shocking secret from her past. Through it all, Sum must retain her professionalism and dignity, as the "Hu-Du-Men" between the stage and her life begins to blur. Emotional, intimate direction and Raymond To's intelligent, relevant screenplay make Hu-Du-Men worthwhile cinema, but it's Josephine Siao's brilliant, emotionally dynamic performance that sets this film above the rest.

HK crime horror film.

Chang Yau-Wai is a family committed news reporter. Together with his wife, they have their hands full with their children, including their soon to be wed daughter. Things, however, soon take a turn for the worst.

The film follows three sisters’ ups and downs that begin with this youngest one’s jealousy. In the film, Pearl Au Kar-wai stars as a very charming actress, who is loved by every person around her. The little sister envies her sibling’s achievements but what she does impulsively has caused permanent harm to the family. Besides Siao and Au, Woo Fung, still an active TV actor today, took up the role of Au’s once boyfriend, and Fanny Fan Lai and Roy Chiao, well-known for their roles in Mandarin films, took a bold step to partake in this Cantonese film. Director Chu Kea, best known for his period dramas, turned to a contemporary-set film this time, and successfully delivered the film’s sense of modernity, probably with help from his co-directors Ho Hoi-ki and Chu Yat-hung, who was his sister. The opening scene of an orchestra performance even reminds the audience of Hollywood movies.

Hong Kong movie

North Quick Hands, a gambler, killed a gang in revenge for his friend, for which he was sentenced to prison. South Tin-lone waited for Quick Hand's release, so that he might be recruited into the gang. But Quick Hands refused. Meanwhile, Sau Tin, a Hong Kong policewoman addicted to gambling, went to Dongguan to seek a husband. She helped Quick Hands to leave China by arranging a fake marriage, as he promised to teach her some gambling tricks. South Tin-lone and his gang followed Quick Hands to Hong Kong and a series of fights ensued...

Filmed on the occasion of the 28th anniversary of the bombing of Hiroshima, Hiroshima 28 was the first all-Hong Kong crew to make a feature in Japan. Lung Kong anchors a bittersweet melodrama in the historical milieu in the months following the horrific events of August 6, 1945. Josephine Siao—a star whose career had become synonymous with the filmmaker’s work over the past decade—plays a young tour guide to a Hong Kong reporter researching the tragic effects of the atom bomb, their journey forming an odyssey through the city’s ruins.

Lung Kong’s first color feature expands on thematic concerns supplanted in The Story of a Discharged Prisoner made one year before, situating issues of social reform within an impassioned romantic melodrama. The relationship between a career criminal and a blind girl (a stunning performance by Josephine Siao) form a portrait of marginalized life in a rapidly-modernizing Hong Kong. The profound chemistry between Patrick Tse and Josephine Siao onscreen served as the primary inspiration for the famed hit man-blind girl pairing in John Woo’s award-winning film The Killer (1989).

A revenge thriller unlike any other, Lung Kong confronts themes of reform and revenge by turning his focus to the subject of disaffected youth. Young Josephine, an audacious performance by a 22-year-old Josephine Siao, is sentenced to an all-girl reform school on the periphery of Hong Kong after a violent bar brawl. Along with a few accomplices, she escapes from the intolerable administration, only to find the streets an even more hostile environment, driving the girls to blood-soaked vengeance. An enthralling youth-in-revolt film from the rare perspective of its female protagonists, shot in indelible widescreen color photography, Teddy Girls is one of Lung Kong’s most enduring triumphs.

Hong Kong movie

Hong Kong movie

Hong Kong movie

Lau Ching, a Mainlander with an incredibly powerful right arm, arrives in Hong Kong to find his cousin. He befriends with a drifter named Handsome, and a martial artist girl named Mandy. In order to woo her, Ching participates in a fighting competition in hopes of winning a $10 million prize, and must defeat his love rival, Wai, in the ring.

Yan Xintang have seven kids with his wife, all their kids have grown up now and facing different problems on their own romance experiences.

Gangster Li Yibiao's jewelry was suspected to have been stolen by Gu Daqiang. Biao asked Jin Zhenyu to cooperate with him to get the jewelry back. During this period, Yu discovered that the mysterious woman Jin Ou was also looking for jewelry, and the two agreed to cooperate. Hou Yu learns that Biao set up a trap for him and Qiang to kill each other, and Ou and Qiang confront Biao. The jewelry originally belonged to Ou's deceased brother, so Yu lets Ou take it back.

Loosely based on Charlotte Bronte's novel Jane Eyre.

Her mind deluded by Elder Three Unsurpassed, Ng Yu-ying is about to surrender the captured Chan Lam to Oh Yu-kan and Ho Yim-wah when his senior master Lee Kei comes to save the day, warding off the conspirators. Restored to sanity by the antidote delivered by her mother, Ng bids a silent farewell and pleads to be made the protege of Black Raksha. With Fairy Crimson Pearl leading the way, Chan rescues Chung Siu-chui and Chor Ling imprisoned at the White-bone Sect and survives the bombings orchestrated by Oh but finds himself cornered by beguiled members of the seven leading martial sects. Ng dons a mask and teams up with 'Little God of Hades' to break the siege, pursuing their nemesis to the Fiery Fire Sect where Chan and cohorts finally eradicate Scholar Four Poisons and Oh, the latter confessing to the murder of Chan's father at his last breath. Ng wields the Raksha Order to avenge her father's death, perishing together with her mother.

Kwok Sau-yuk fails to ward off the advances of Scholar Four Poisons while mourning the murder of her husband. Master Chung comes to help and asks Kwok's son Chan Lam to look for his daughter Siu-chui before dying. Hurled into the Blood Pool, Chan chances on Ng Yau-nin, a victim of the intrigue hatched by his wife Ho Yim-wah and her lover Oh Yu-kan. Ng bequeaths to Chan a sword, and the Book of Blood Devil Moves unearthed from the cave and entrusts his daughter Yu-ying to his care. Having mastered the art, Chan emerges from the abyssal waters and becomes the 'Little God of Hades.' He is soon kept under lock and key by Oh who wants the Book of the Yellow Emperor. Treating Chan with a antidote, Yu-ying escapes with Chan after learning his father’s intrigue, only to be hit by a pang of loss and agony upon Chan's reunion with senior master Lee Kei and Siu-chui, his betrothed fiancee. Instigated by Oh, Chan finds himself confronting members of the seven leading martial sects…

Hong Kong horror movie from 1968.

This is a film about a young boy, that is helped by a ghost, to reunite with his separated parents.

Melodramatic film about a child prodigy.

Jane, with plain looks but a heart of gold, is always in between jobs. Once she gets a job, her knack for creating awkward situations immediately loses it for her. Ricky is her suitor, but he gets nowhere as the girl has no time for love. So Ricky goes along with her in job hunting. Somehow, Jane lands on a job as governess. Not to a child, but to an uncouth very old, very rich man who still wants to lead the life of his poor, uncivilized youth. His son is now running the old man's millions. He wants to bring up the father the civilized way. And he wants to take over the whole city through take-over deals. He is ruthless and has thrown thousands into the streets.

Rascal To Chai-yan brings a false charge of selling fake medicine against doctor Fan Tin-sang, who is sentented to a twenty-year imprisonment. Fan makes an escape after a decade, and secretly provides for the education of his son Fuk-kwan brought up by a poor blacksmith. Fuk-kwan grows up to be a doctor practising in the country. To again does harm to Fuk-kwan, only this time Fan intervenes. Both he and To die in the fight.

Hung Sin Nui plays a mother of three who is burning with desires to serve society. Working as a journalist, she stays out for long hours, resulting in negligence of her children and her husband’s suspicions of infidelity. The twist, at once ironic and realistic, is that her unsupportive husband had actually written in his youth a book on gender equality. On the verge of divorce, the couple reconciles after the husband’s mother, sympathetic to the difficulties faced by women, rises to the occasion with timely and prudent advice. Hung’s character, a woman stuck between cultures of old and new, was tailor-made for the star by screenwriter Chu Hak. Director Li Pingqian portrays her struggles with realist and humanistic touches, extending gentle critiques of social prejudices without fanning the ire of resentment.

A light romantic-comedy about mothers who want their daughters to settle down and marry. So they try to lure new male tenants into renting a room in their apartment, hoping love will spark between them and their daughters. Lai-wan terribly disagrees with her mother’s philosophy of searching for suitors like this, and does her best to avoid her tenant. However, her younger sister Lai-ha constantly encourages Lai-wan to fall in love, while also helping the new tenant win her heart. Lai-wan’s cousin Sau-chu is also facing a similar situation but not only can she not stand her own disgusting tenant, she has already fallen in love with another man. A trio of car manufacturers colleagues who are also bachelors, happen to find themselves stuck in this situation together.

Hong Kong horror movie from 1968.

Hong Kong horror thriller from 1963.

One stormy night, a poor music student (Patrick Tse) meets a famous dancer (Josephine Siao). In one night, he composes for her the musical of her dreams: A Purple Stormy Night. The management of her dance company is divided on the musical, but the dancer manages to dispel all their doubts and the musical becomes a great success. The student and the dancer fall in love, but there is a shadow side to happiness: corrupted by success, the next musical they make is superficial. "Purple Night" shows the dangerous influence commerce can have on artistic integrity and is also about themes such as love and friendship, the relationship between art and life and the conflict between rich and poor.

Inside a café, on Christmas Eve. Chim Kei meets an enigmatic woman named Mimi Wong who introduces herself as the daughter of an upper-crust family. But the infatuated writer is struck by a spasm of sorrow when he later sees Mimi make her appearance as a taxi-dancer at a party. The lovers are reconciled by the story of her plight told by her sister Annie. However, Mimi goes missing on the engagement day. By a stroke of luck, Chim runs into the elusive woman again and finds out how she was forced into prostitution by her drug-addict husband, his childhood best friend and benefactor Chan Hung-kit. Chim leaves dejectedly, and has since been idling his days away. The frail Mimi confesses her love for Chim on her deathbed, and from not far away, Chan has ended his own life.

Hong Kong musical.

A Cantonese opera company is attacked by an army of ghosts, thanks to a feud between the dead grandfathers of one of the company's actresses and a young man.

Two children try to win their parents over through devotion and duty

Upon returning home, sailor Yu (Richard Ng) is shock to discover that not only his wife left him, but the house has also been sub-letted to an old maid, May Wong (Josephine Siu). Both Yu and Wong have their own strange habits, and them living together under the same roof causes numerous hilarious incidents.

Stanley Kwan's 1992 short film starring Josephine Siao and Maggie Cheung

Sword of Swords is a Hong Kong Martial Arts movie starring Sammo Hung in a child role

Kin chan no Cinema Jack is an anthology film starring Yuen Biao and produced by Jackie Chan

Sword of Emei is a Hong Kong Martial Arts movie starring Sammo Hung

In 1966, Connie Chan Po-chu and Josephine Siao Fong-fong starred in multiple contemporary films, cementing their onscreen persona as virtuous young women while becoming the hottest youth idols of their time. Colourful Youth remains the only contemporary film to feature both of them. Filmed in Eastmancolor, the song-and-dance spectacle keeps its fingers on the pulse of its era and presents the vigour of the modern times.

An early Brigitte Lin Romance.

Revisit 100 years of Chinese cinema through the RTHK TV program A Century of Light and Shadow. Aired in 2005, this interesting and informative documentary traces the development of the Chinese film industry from the pioneering years to contemporary times. From the volley between Mandarin and Cantonese films to the rise of the New Wave, this program touches on all the major trends and developments that have helped define Chinese cinema and explores different genres and representative figures and films. From actors to directors, over 200 film industry names, including Jackie Chan, John Woo, Sammo Hung, Connie Chan, Andrew Lau, Peter Chan, and Lau Ching Wan, appear in the program, bringing their intimate knowledge of the industry and providing insight about what lies ahead for Chinese cinema.

Wu Sheung-fung risks her life to save Wong Tin-ho with the help of the white bone sword. Meanwhile the three devils known as Heaven, Earth and Man return to the Devil Mountain with the coveted Swords. Chung Ching, who has divined the recovery of the White-bone Grass by Wu and others, dispatches Kam Yan-kit to abduct Wong to the Black Hair Cave. Luk Fong-fei, Wu and other rescuers are vanquished by Black Hair one by one. Old Devilish Eccentric hurries to their rescue and heals Wong's wound as Wong reconciles with Kam. Kam secretly returns to Chung Ching Cave to seek the precious swords when Wong and others raid the den and are again dispatched away with fakes.

The movie is lead by martial arts film stars Cho Tat-Wah and Yu So-Chow, the new generation famous martial arts film couple Chan Po-Chu and Siao Fong-Fong was participating in the episode fifth. As the name suggests, the movie is actually in sense of the Buddha’s theory. According to my understanding in the whole series, I believe the episode fifth is more likely in sense of the Buddha’s theory. So I try to translate in English hoping those who are not familiar with Chinese can enjoy the true spirit in the movie. The story is about how the odd-demon create his “mutilation-poison leg”. At the same time his disciple Dragon Girl realized his cruel means to all men including herself. Despairing Dragon Girl finally met her bosom friend Yuan Tung and her benefactor Long & Qiu and pull together to wipe out her evil master.

Classic swordplay movie with some crazy monkey fighters.

Looking for a job, Ah-chun is sent off into the countryside to a seemingly haunted mansion.

The Perfect Match

Sequel to the comedy movie Lam Ah Chun

The Killing Flag (Part 1) is a 1963 Hong Kong martial arts film direcred by Fung Chi-Kong.

One of Hong Kong's most influential filmmakers, Ann Hui, becomes a “star” for the first time in Man Lim-chung's directorial debut. A forerunner of the New Wave, Hui’s tumultuous, forty-year career is an unequivocal testimony to her unyielding dedication to filmmaking, and her expedition into the metamorphic city. This biopic probes into the acclaimed director’s idiosyncratic world, where we witness her rashness and goofiness, as well as her humanistic concerns for the everyday nobodies which make her films so moving.

The Taipei Golden Horse Film Festival and Awards (Chinese: 台北金馬影展; pinyin: Táiběi Jīnmǎ Yǐngzhǎn; Pe̍h-ōe-jī: Tâi-pak Kim-má iáⁿ-tián) is a film festival and awards ceremony held annually in Taiwan. It was founded in 1962 by the Government Information Office of the Republic of China (ROC) in Taiwan. The awards ceremony is usually held in November or December in Taipei, although the event has also been held in other locations in Taiwan in recent times

The Taipei Golden Horse Film Festival and Awards (Chinese: 台北金馬影展; pinyin: Táiběi Jīnmǎ Yǐngzhǎn; Pe̍h-ōe-jī: Tâi-pak Kim-má iáⁿ-tián) is a film festival and awards ceremony held annually in Taiwan. It was founded in 1962 by the Government Information Office of the Republic of China (ROC) in Taiwan. The awards ceremony is usually held in November or December in Taipei, although the event has also been held in other locations in Taiwan in recent times