Directing
Jul 9, 1947
Hong Kong, China
Allen Fong
Directing
Biography
Allen Fong Yuk-ping (方育平) (born July 10, 1947) is a film director and one of the leaders of the Hong Kong New Wave of the late 1970s and early 1980s. His cinematic style is highly influenced by Italian neorealism. He also usually uses personal or real-life stories as the basis for his films. Despite his limited number of productions, he is one of the directors to have won "Best Director" three times at the Hong Kong Film Awards. Others who share this achievement are Ann Hui and Johnnie To. He won in 1982 for Father and Son. His 1983 film Ah Ying was entered into the 34th Berlin International Film Festival.
Feature Films (9)
A screenwriter gets involved with two actresses who are trying to succeed in the 1960s Hong Kong film industry.
The Golden Girls
A second-rate private eye sees a woman's UFO abduction claim as his ticket to fame and fortune.
Twinkle Twinkle Little Star
A man is hired by a group of people he believes to be gangsters to escort a briefcase from America to Hong Kong. When he arrives, however, his contact is nowhere to be found. With no further instructions, he decides to take in the sights of Hong Kong, which consist of him taking part in a great deal of blood, sex and general weirdness, all while wearing a briefcase handcuffed to his arm.
Life Is Cheap... But Toilet Paper Is Expensive
Director Tong orders a box to be moved during a shoot. His only thought was move a mound of snow to make the scene look a little better. His crew warn him it's a devil's box, but move it anyway. The first guy to pick up the box dies shortly after, having accidentally fallen off a roof. Tong's work declines, as does his health. He is diagnosed with a brain tumor, and begins to be pursued by… something evil.
The Devil’s Box
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.
Yang ± Yin: Gender in Chinese Cinema
Tells the story of the relationship between a widower with Alzheimer's disease and his daughter-in-law, May Sun, who is a housewife in her forties trying cope with the upheavals in her family.
Summer Snow
In 1937 Shanghai, a soldier and a young woman have an awkward meet-cute in darkness under a bridge as they seek refuge during a bomb raid. Ten years later, the soldier, now a burgeoning songwriter and tuba player in a marching band, is back in town desperately searching for his would-be soulmate. As fate would have it, they end up living in the same building, unbeknownst to each other.
Shanghai Blues
Examines the early 1980s Hong Kong filmmaking community. Tony Rayns interviews some of the new generation of filmmakers and figures from the wider film culture.
