Kitty Yu Tsz-wing

The lives of two asylum seekers fleeing post-social unrest in their home city intertwine in Britain, starting a romance that tests their resilience and adversity.

Sisters moving from Hunan to Hong Kong in the 1990s are faced with an identity crisis, poverty, and their father's drug addiction.

Four years have passed since the event. Lost and changed, Ling returns to the society, uncertain about her future. People around her avoid talking about what has transpired, their meaningful whispers echoing in the void. One night, Ling meets her younger self from four years ago. They try but know not how to talk to each other. With the scar still throbbing, should the older express regret or encouragement for the younger? Would the younger question the older, can she sympathise with what she is yet to learn? An extraordinary time travel story about the melancholic self-reflection of one’s whereabouts, in the past and in the future.

Three short films about the hidden horrors that lurk behind the urban landscape of Hong Kong.

Phone Made Good Film No.5, about correcting the method of using chopsticks.

In June 2019, YY is one of many young people who join the Anti-Extradition Law protests. She announces that she will commit suicide as a radical method to make the Hong Kong government respond to their demands. A group of fellow protestors must race against time to find her before it is too late. After an emotionally exhausting hunt, Lai is found at the top of a building preparing to jump off...

Smoker, a prefect in a boarding school, maintains order with weed and terror. Within the confines of the school, we witness a twisted version of a coming of age story of unbridled violence in the name of law and order, culminating tragically to the death of the bullied Dickhead. As the incident escalates and things go astray, Smoker faces a moral dilemma: Should he clear himself of further corruption, or should he act as an accomplice of the authorities? Stylistically extravagant, the short uses the secondary school as a metaphor to underpin the absurdity and brutality in ‘the worst of times.’

Kwan believes that she is unique. Enclosed in solitude within her own literary world and deprived of affections from her family, she longs for love in whatever form it takes - no matter how distorted. She considers the detention class with Mr Cheung a shelter from the world, until it is shattered together with all her hopes. She finally comes to the realisation that it is the world that goes against her. There is no hiding place for her no matter how hard she struggles……