Midnight 1981 ( 5)

In 1930's Shanghai, Wu Sunpu, chief executive of the Shanghai Yuhua Silk Company, faces many struggles: with plant workers, with strikers, others in his industry, and most of all with bourgeois comprador Zhao Botao. Capitalists and other figures in Shanghai's industrial and commercial community come and go. The strategy finally comes down between Wu and Zhao. Zhao plans to take over Wu Sunpu's plant with support from Americans. Wu faces a choice of surrender to Zhao or bankruptcy. He considers suicide, but decides to go on vacation with his wife on Mount Lushan. When they leave Shanghai at midnight, Wu paces the deck of the ship, reviewing his life and fate.

Woman Hairdresser 1962 ( 6)

Hua wanted to be a professional barber, but her husband Jia didn't support her. But Hua joined a barbershop and became a popular barber when Jia was on a business leave. What will Hua do when Jia coming back?

51 Depot 1961 ( 7)

City Without Nights 1957 ( 5.7)

A Chinese drama

Song of a Songstress 1948

Starring in numerous singing films, Zhou Xuan was one of the most beloved singers in both cinema and recording industries for her 'golden voice'. Popular nightclub singer Zhu Lan (Zhou) is originally in love with impoverished painter Fang Zhiwei (Gu Yelu), but is taken advantage of by rich playboy Ye Chunhua (Wang Hao) at her most vulnerable time. To add to her misfortune, Zhu discovers her being an adoptee. She also learns the heartbreaking truth about her birth parents which intertwines with her own life across generations. Eventually, irreversible tragedy awaits with revenge exacted for past wrongs. In a case of art imitating life, the songstress's life and upbringing resemble Zhou Xuan's own, making the film even more heart-wrenching. The 'Song Fairy' Chen Gexin composed the film's entire music with six songs sung by Zhou. 'Song of a Songstress', sung towards the end of the film, adds poignancy to the film with its discourse on the joy and sorrow in life.

The Third Generation 1948

The Goddess (1934) is remade once again. In this version, Zhu Shilin tackles the anxiety concerning the clash of 20th century Chinese traditions and modern Western culture. Despite her father’s strict discipline, Fun still manages to have a boyfriend secretly and give birth to twins. After leaving her son to her father, she takes off with her daughter. Twenty years later, Fun has become a streetwalker. The three generations finally come face-to-face at the police station. Her father laments that his generation should be ousted while Fun’s generation has been sacrificed, leaving the future for the next generation to establish. Zhu carefully depicts the shame of selling one’s body without passing judgment while he finds balance and reflects on the pain in the age of progress. Even though the production was far from lavish, Zhu’s astute handling of the narrative and mise-en-scène makes this a vivid and exciting film to watch.