Law Kar

Taking place in 1941, Love in a Fallen City centers on Pai, a young woman who has been ostracized by her family for divorcing her rich husband. A local match-maker, Mrs. Hsu, takes pity on Pai and decides to bring her to Hong Kong, under the guise of employing her as the Hsu's nanny, but in reality to introduce her to Fan. Pai and Fan seem to hit it off, but Fan's refusal to marry Pai soon sours things. However, as the Japanese begin to invade Hong Kong, the two begin to realize their true feelings for each other.

Since dropping out from the medical school, Lau Mack has been living a humble but contented life, running a small clinic in a shabby area, treating local inhabitants and poor prostitutes working there. One night, he escorts an injured gun robber to the government hospital, where he unexpectedly meets his old friend from college time, Dr. Jaw, now a reputed surgeon with an aspiration for senior management. To Jaw's bitter surprise, he finds himself outshone by Lau's medical talent and kindness to patients. Jaw is however determined to speed up his career ascent at the expense of Lau. His plots work perfectly, until an accident delivers his life to the mercy of Lau.

An exploration of Chinese cinema and its relationships with gender and sexuality, which the film argues has been more frankly and provocatively explored than in any other national cinema. Utilizing both film excerpts and interviews with many leading directors and academics, the film examines topics such as male bonding in kung fu movies, depictions of same-sex bonding and physical intimacy, the emphasis on women's grievances in melodramas, and the career of Yam Kim-Fai, a Hong Kong actress who spent her life portraying men on and off the screen.

The film traces the life and times of Esther Eng, a San Francisco native known as Hong Kong’s first “directress.” She directed 10 Cantonese talkies.

Clara Law's debut feature deals with her common theme of emigration as two people, man and woman, from separate couples, have to room together while their spouses are in America to finalize the Canadian citizenship process.

The second episode of the Hong Kong reclaimed “Social Worker” series (1976)

Having devoted much of his career to programming and film history research, Law Kar, a.k.a. Uncle Kar, places himself before the camera for the first time. This nostalgic trip down memory lane, as he recounts his personal and cinematic experiences, from film criticism, experimental filmmaking to auditioning for Federico Fellini, cumulates in a brief history of Hong Kong cinema itself. Reflecting on the past 80 years, Law Kar's affectionate documentary sheds light on local movies and Chinese cinema, brooding over the socio-political transformation of our perplexed city, as the restless cinephile ponders the role cinema and art play in times of crisis.