Spring, Spring

Despite mixed emotions, Frederick Winterbourne tries to figure out the bright and bubbly Daisy Miller, only to be helped and hindered by false judgments from their fellow friends.

Patricia Highsmith's haunting story of a day in a young girl's life when a kind stranger comes to town.

After finishing the course of junior high school, Kazuo comes up to Tokyo, leaving his mother alone in the unproductive northern district. He finds a job in a small laundry in downtown Tokyo and works hard till late at night. At a nearby restaurant a brother and sister are working, and Kazuo becomes friendly with the girl, Yoneko. Love blossoms between the two. However, Yoneko's brother objects to his sister marrying Kazuo.

Adaptation of Hermann Sudermann's novel about the troubled relationship between the strong willed Erdme and her irascible husband Jons in the Lithunian moors.

Adada's poor husband suddenly strikes it rich. He changes his hovel for a beautiful home, but his character changes as well. He becomes overly proud and shows off his wealth. Adada, despising the money and what it has done to her husband, throws their savings into the river

An old member of Namsadang (a wayfaring group of Joseon Dynasty (1392-1910)) leaves his daughter Gye-yeon at a tavern of Hwagye Market, a traditional market located in Gurye, Jeollanam-do. Son of the tavern owner Seong-gi and Gye-yeon love each other, but the madam owner tries to separate them by sending Seon-gi to a temple. The old man comes back to take Gye-yeon and disclose a secret that the tavern owner is in fact his daughter, therefore Seong-gi is his grand son. Frustrated to hear that he cannot love Gye-yeon, Seong-gi goes for a long journey without destination as his ancestors of Namsadang have done.

In a hospital waiting room, a group of men arrive and meet one another. Choe, is the upbeat fellow who always thinks of the nation and its people. Cheon was wounded in the war and has fallen into despair. Then there's the dentist, run ragged by his hectic life. They commiserate over each man's lot in life and exchange stories about their love affairs.

Benjamin Britten: Billy Budd

Following a tragic accident that leaves him disfigured, crazed composer Erique Claudin transformed into a masked phantom who schemes to make beautiful young soprano Christine Dubois the star of the opera and wreak revenge on those who stole his music.

Teresa is a spirited young girl chafing under the oppressive attitudes of 1930s society, and her father in particular. She fancies her poverty-stricken Latin tutor Johnathan Crow, without realising he merely considers her a pleasant diversion and nothing more, and eventually follows him from Sydney to London. En route she meets the gentle banker James Quick. Whilst navigating her relationships in London, including with a political poet bound for the Spanish Civil War, she experiences a transformation in her understanding of love. Based upon Christina Stead's best-selling Australian novel.

Chor Yuen started his directorial career with a bang. From its very first image, The Natural Son establishes Chor as a filmmaker of stylistic flourish, which would be sustained in various forms throughout his long tenure. Adapted from '30 cents' pulp fiction, it is a Kong Ngee melodrama made in the studio's mould, with Westernised characters and trendy middle-class lifestyles. Yet, Chor's first film is not exempt from the social urgency that characterises the Cantonese cinema of his father, Cheung Wood-yau. The film cloaks its entertainment in a moral deliberation on blood ties, its story about the raising of a bastard child a head-on challenge of archaic family values. An ostentatious start for a colourful and eventful career.

Starring Jeremy Irons in a one-man drama, adapted from a Dostoevsky short story by Murray Watts. In his dream, the Man visits an unspoilt Garden of Eden.

Julia, a waitress without much going on in her life, accepts a job offer from Milo, a writer in crisis who needs an assistant to talk to. From these conversations on, she begins to perceive that love is where we least expect for.

The most beautiful man in the world, who, sick of being objectified, devises a plan to free himself of other's attention.

The deformed Phantom who haunts the Paris Opera House causes murder and mayhem in an attempt to make the woman he loves a star.

"Family" (1953), which launched the Union Film legacy, "Spring" (1953) and "Autumn" (1954) are adaptations of Ba Jin's highly regarded novel "Torrent Trilogy". In "Family", director Ng Wui skilfully condenses the voluminous first part of the novel into an emotionally powerful and intellectually focused story of youngsters struggling to survive oppression and repression in a feudalistic family. This well-received film quickly established the company's reputation.

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.

The plot adheres closely to the original novel, revolves around wealthy Maxim DeWinter, his naïve new wife, and Mrs. Danvers, the manipulative housekeeper of DeWinter's Cornish estate Manderley. Mrs. Danvers resents the new wife's intrusion and persuades the new wife that she is an unworthy replacement for the first Mrs. DeWinter, the glamorous and mysterious Rebecca, who perished in a drowning accident. The new Mrs. DeWinter struggles to find her identity and take control of her life among the shadows left by Rebecca.

Hak-ming heads the Ko Family, but he and his brothers, Hak-ting and Hak-on, and the second wife of the late Master Ko quarrel. Young Cousin Mui, who has tuberculosis, is forced by to marry an older woman. Kok-sun is guilty of being unable to stop the marriage. Sun and maid Chui-wan are wary of their feelings for each other due to class difference. Cousin Mui dies of illness. Hak-ting has his eyes on Wan. His wife, Wong, complains to their daughter, Shuk-ching, who cannot take it and commits suicide. Wong blames herself for her death. Undergone these tragedies, Cousin Kam's mother let Kam have a modern wedding with Kok-man. When Ming is ill, Ting and On want to sell the ancestral home. Hak-ming dies of angst. When the fifth uncle of Sun forces Wan to be his concubine, Wan tries to kill herself but is intercepted by Sun. Pressurised by people of the house over the issue of inheritance, Sun protests by declaring his love for Wan and leaves the family, with his mother, brother Man and Wan.

'...is unsuitable for any man's love.' (Xi Xi, A Woman Like Me) Sum-yin patches up wounds, masks scars and performs other beautician services that, when done well - as she always does - bring comfort to her and appreciation from grateful families. But inside she's hurting. Her job as a mortuary cosmetologist makes her self-conscious about the smell of death that seems to be seeping through and under her skin and looming over her stagnant relationship with Kwan, her oblivious boyfriend. No amount of cigarettes and perfume and cleaning will rid of it. At some point, a decision has to be made.