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FONGCHUK (EXILED)
Macau, 1998, just before the city is returned to Chinese control. Rival gangs are realigning themselves for the forthcoming changes in a city of lucrative opportunity. Old gang members find themselves on opposite sides in a sensational extended opening shoot-out, when two are commissioned to kill a man by their Hong Kong boss and two are there to save him. Exhausted by their battle, the four hitmen and their intended victim relax and decide to re-unite under a rival gang boss, seeking a better pay-off involving a ton of gold.
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JI FENG ZHON DE MA (SEASON OF THE HORSE)
In the vast Mongolian steppes, home to horsemen and herdsmen, a stubborn herdsman, Wurgen (played by the film’s writer, director and star Ning Cai, a well-respected actor in China), clings on to traditional ways – symbolised by his beloved old horse, which his wife, Yingjidma (Na Renhua), wants to sell in order to send their young boy to school. She goes to work in the city, he finds he can no longer graze his animals where he used to and ultimately has to sell his horse as an attraction in a noisy discotheque.
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LUO YE GUI GEN (GETTING HOME)
Zhao (well-known mainland China stage comedian Zhao Benshan), a worker in his fifties, is out drinking when his fellow worker dies. Despite having no funds, Zhao lives up to a promise to carry his friend’s corpse back to his distant home, and sets off on a gently humorous but bizarre journey. Using a series of inventive means of transport. He has a marvellous series of encounters: bus robbers, beekeepers, a man who stages his own funeral and a bag lady who sells her blood to survive. Finally, Zhao finds some resolution in his own life.
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TUYA DE HUN SHI (TUYA’S MARRIAGE)
In the Mongolian steppes, feisty and hard-working Tuya (Yu Nan) is determined to stay in her home and pastures, but with a disabled husband, Bater, she has to do all the work. He offers to divorce her so that she can find another husband to help her. The wilful Tuya initially refuses, but gradually accepts she has to find a new man, only to find that no suitor will take on such a determined and demanding woman. When the wealthy Baolier finally steps forward as bridegroom and promptly sends Bater to a nursing home, Tuya makes a radical decision.
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YE YAN (THE BANQUET)
This epic, free reworking of Shakespeare’s Hamlet is set in a nameless Chinese kingdom in 904AD. Crown Prince Wu Luan (Daniel Wu, the story’s Hamlet counterpart) loves Wan (Zhang Ziyi), but leaves home when his father the Emperor claims her as Empress. Three years later, Wu Luan’s uncle, Li, murders the Emperor, usurps the throne and marries Wan. The Prince returns to the palace, but his quest for revenge is complicated by Wan’s double-dealing ambitions and his love for Qing, a demure royal attendant. When the prince offends Emperor Li, he is sent on a suspicious “diplomatic mission”, returning just in time for the climactic banquet that will claim several lives.
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