Ann Hui
 |
Ann Hui | |||
|---|---|---|---|
 Ann Hui answering questions following a screening of The Way We Are at the Broadway Cinematheque in Yau Ma Tei. | |||
| Born | 23 May 1947 | ||
| Alma mater | London Film School | ||
| Occupation(s) | Film director, producer, screenwriter, actress | ||
| Years active | 1979-present | ||
| Awards | Hong Kong Film Awards – Best Director 1983 Boat People 1996 Summer Snow 2009 The Way We Are 2012 A Simple Life 2015 The Golden Era 2018 Our Time Will Come Best Film 1999 Ordinary Heroes | ||
| Chinese name | |||
| Traditional Chinese | 許鞍華 | ||
| Simplified Chinese | 许鞍华 | ||
| |||
Ann Hui On-wah, MBE, BBS, (traditional Chinese: 許鞍華; simplified Chinese: 许鞍华; pinyin: Xǔ Ānhuá; Hepburn: Kyo Anka; born 23 May 1947)[1][2] is a Hong Kong film director, producer, screenwriter and actress. She is one of the most critically acclaimed Hong Kong New Wave filmmakers. She is known for her films about social issues in Hong Kong. Her film works cover different categories, including: literary adaptation, martial arts masterpieces, semi-autobiographical works, female issues, social phenomena, political changes, and also thrillers. She served as the president of the Hong Kong Film Director's Guild from 2004 to 2006.[3]
Hui has won numerous awards for her films. She won Golden Horse Awards (GHA) for Best Director three times(1999, 2011, 2014); Best Film at the Asia Pacific Film Festival; Hong Kong Film Awards for Best Director six times (1983, 1996, 2009, 2012, 2015, 2018). There are only two films won Grand Slam for Hong Kong Film Awards (means a film won best picture, best director, best screenplay and best actor and actress at the same time), they are Summer Snow and A Simple Life, both are directed by Ann Hui. She was honored for her lifetime accomplishments at the 2012 Asian Film Awards. In 2017, the Academy of Motion Picture Arts and Sciences (AMPAS) invited Hui to become a member.[4]
Early life
On 23 May 1947, Ann Hui was born in Anshan, Liaoning province, Manchuria to a Chinese father and a Japanese mother. In 1952, she moved to Macau, then Hong Kong at the age of five and attended St. Paul's Convent School. Hui then received a Masters in English and comparative literature at the University of Hong Kong until 1972 and later, studied at the London Film School for two years. Before receiving her degree, Hui studied and did her thesis on the works of Alain Robbe-Grillet, a French writer and filmmaker.
Career
When Hui returned to Hong Kong after her stay in London, she became the assistant to the prominent Chinese film director, King Hu. Her breakthrough directorial work began with several drama series and short documentaries on 16mm for the Television Broadcasts Limited (TVB) television station. During 1977, Hui produced and directed half a dozen films for the Independent Commission Against Corruption (ICAC), a Hong Kong organization created to clean up government misconduct. Two of these films were so controversial that they had to be banned from airing. A year later, Hui directed three episodes of Below the Lion Rock, a documentary series depicting the lives of people from Hong Kong, under the public broadcasting station, Radio Television Hong Kong (RTHK). The most recognized episode of Hui's is Boy from Vietnam (1978), which is the start of her "Vietnam trilogy."[5]
After a few years in the television industry, Hui finally directed her first feature-length film, The Secret (1979), which earned Golden Horse Award for Best Feature Film. In the 1980s, Hui's career was growing on the international cinema circuit. The most popular films for that time were Eastern variations of Hollywood oriented gangster and action films. But Hui did not follow the trend and preferred to create more personal films. Many of her best films involved themes pertaining to cultural displacement. In particular, her central characters are often individuals who are forced to relocate to another country and shown to be struggling and learning to survive. Hui tends to explore the characters' reactions to different environments and their responses to their return home. During this "New Wave" period, most of her films are sharp and tough, with satirical and political metaphors, reflecting her concern for "people"; her concern for women; voicing for orphans who have been devastated by war; and also voicing for Vietnamese refugees.[6] Her best known works, which fall under this category, are The Story of Woo Viet (1981) and Boat People (1982) – the remaining two parts of her "Vietnam trilogy." Boat People won the Hong Kong Film Awards for Best Film and Best director. Although Hui has directed some generic films, another common theme she works with is family conflict, such as in the film My American Grandson (1990).
Hui's concern for "people" and "female" become the most common them in her films. She always records the stories from the perspectives of female objectivities.[6] One of her most personal work is Song of the Exile (1990), a semi-autobiographical film.The film discusses the problem of "family connection" and "identity".[6] It depicts the story of a young woman, Cheung Hueyin returning to Hong Kong for her sisters wedding after studying film in London for a couple of years. Hueyin and her mother, who is Japanese, do not seem to have a steady relationship. But as the film follows Hueyin's journey to her mother's hometown in Japan, Hueyin and her mother are forced to reexamine each other's relationship, as both have experienced the issue of being uprooted from one's own country. This film won both the Hong Kong Film Awards and Golden Horse Award for Best Director, and Hui became a director who won the most of these two awards. She served as the president of the Hong Kong Film Director's Guild in 2004.
In the 1990s, Hui's work began to target more commercialized films. Her directing career has slowed down a bit, as she focused more on behind-the-scenes work for other filmmakers. However, the theme of displacement is still recurrent in most of her works. During the mid-1990s, Hui tried to start up a film project about the Tiananmen Square massacre and the reactions of Hong Kong citizens. But the project was never made due to the lack of investments and funding. The term Tiananmen Square massacre is no longer in use by the Chinese government, as it portrays a harsher image of the incident. It is now more recognized as the Tiananmen Square protests or the June Fourth Incident. Throughout her career, Hui has often taken chances to develop more intense and ambitious films, while making a name for herself.[7]
Hui has said in an interview about her desire to work on more socially conscious projects. She was aware of the difficulties in finding such projects that would both "attract investors as well as appeal to the public." Her goal was to "present something that is watchable and at the same time attractive" and allow the public to analyze the social issues involved. Although Hui is best known for making controversial films, the interview, in particular, was describing the horrors of increased crime and unemployment rates in Tin Shui Wai, Hong Kong. The two films of Hui's that focus on these issues are The Way We Are (2008) and Night and Fog (2009), while maintaining a motif of displacement.[8]
Vietnam Trilogy
Boy from Vietnam (1978) is the first film of Hui's Vietnam Trilogy. This film is based on historical background: in the late 1970s, a large number of Vietnamese boat people illegally immigrate to Hong Kong. This film describes the experience of those boat people who risk their lives and lives in exile in Hong Kong, and they encountered setbacks, discrimination, and even exploitation when they were only teens.[9]
In 1981, The Story of Woo Viet continued to describe the problem of Vietnamese boat people. Woo Viet, an overseas Chinese of Vietnam, smuggles himself into Hong Kong after trying many times. He gets a pen pal from Hong Kong to help him start over in the United States. However, he is stuck in the Philippines as a hired killer for saving his love. This film describes the hardship of smuggling, the memories of war, the sinister nature of refugee camps, and the crisis in Chinatown.[9]
In 1982, the People's Republic of China, just ending a war with Vietnam, permitted Hui to film on Hainan Island. Boat People (1982) set the background in 1978, after Communist Party lead Vietnam, through the point of view of a Japanese photojournalist named Shiomi Akutagawa, showed the condition of society and political chaos after the Vietnam War. Boat People was the first Hong Kong movie filmed in Communist China. Hui saved a role for Chow Yun-Fat, but because at that time Hong Kong actors working in mainland China were banned in Taiwan, Chow Yun-Fat declined the role out of fear for being blacklisted. Six months before filming was set to start, and after the film crew was already on location in Hainan, a cameraman suggested that Hui give the role to Andy Lau. At that time, Andy Lau was still a newcomer in the Hong Kong film industry. Hui gave Lau the role and flew him to Hainan before a proper audition or even seeing what he looked like.
Transition from television to film
Hui left television in 1979, making her first feature The Secret, a mystery thriller based on real life murder case and starring Taiwanese star Sylvia Chang. It was immediately hailed as an important film in the Hong Kong New Wave. The Spooky Bunch (1981) was her take on the ghost story genre, while The Story of Woo Viet (1981) continued her Vietnamese trilogy. Hui experimented with special effects and daring angles; her preoccupation with sensitive political and social issues is a recurrent feature in most of her subsequent films. Boat People (1982), the third part of her Vietnamese trilogy, is the most famous of her early films. It examines the plight of the Vietnamese after the Vietnam War.[10]
In the mid-1980s Hui continued her string of critically acclaimed works. Love in a Fallen City (1984) was based on a novella by Eileen Chang, and the two-part, ambitious wuxia adaptation of Louis Cha's first novel, The Book and the Sword, was divided into The Romance of Book and Sword (1987) and Princess Fragrance (1987). 1990 saw one of her most important works to date, the semi-autobiographical The Song of Exile. The film looks into the loss of identity, disorientation and despair faced by an exiled mother and a daughter faced with clashes in culture and historicity. As in the film, Hui's own mother was Japanese.
Post-hiatus work
After a brief hiatus in which she returned briefly to television production, Hui returned with Summer Snow (1995), about a middle-aged woman trying to cope with everyday family problems and an Alzheimer-inflicted father-in-law. In 1996, she was a member of the jury at the 46th Berlin International Film Festival.[11]
Eighteen Springs (1997) reprises another Eileen Chang novel. Her Ordinary Heroes (1999), about Chinese and Hong Kong political activists from 1970s to the 1990s, won the Best Feature at the Golden Horse Awards.
In 2002, her July Rhapsody, the companion film to Summer Snow and about a middle-aged male teacher facing a mid-life crisis, was released to good reviews in Hong Kong and elsewhere. Her film, Jade Goddess of Mercy (2003), starring Zhao Wei and Nicholas Tse, was adapted from a novel from Chinese writer Hai Yan.
In 2008, Hui directed the highly acclaimed domestic drama, The Way We Are, which was then followed up by Night and Fog. In an interview with Muse Magazine, Hui explains how she sees the two films as about something uniquely Hong Kong: '(on Night and Fog) I think that this film can represent something; it can express a kind of feeling about the middle and lower class, and maybe even Hong Kong as a whole. Everyone can eat at McDonald's or shop at malls. That's a way of life, but spiritually, there's dissatisfaction, especially with families on welfare. They don't really have any worries about life, but there's an unspeakable feeling of depression.'[12]
A Simple Life (2011) premiered at the 68th Venice International Film Festival where it was nominated for the Golden Lion. The film centers around the relationship of two characters, Ah Tao (Deanie Ip) and Roger (Andy Lau). It is not a love story, but rather a tale about a master and his long-time servant and was based on the relationship producer Roger Lee had with his servant. The film was chosen as Hong Kong's submission to the Academy Awards but did not make the shortlist.[13] Hui could not afford the cost for filming A Simple Life until found Andy Lau. ”You make a movie and a lot of people ask you why you do it, and this time I was moved by one person's behavior, by the script." "Because she has always shot a very authentic Hong Kong theme, the reaction on the mainland will not be too special," said Andy Lau. When Hui reached him, she said something that made him sad: "I haven't had enough money for a long time. Can you help me?" "Andy Lau said it touched him. "I feel so sad. Sometimes when you make a movie, they say, aren't you afraid to lose money? It's not the best-selling, it's not the most famous, but sometimes you're moved, maybe it's the action, maybe it's the script, and the many little drops add together to make me do it. I work hard to make money every day, so I won't be stupid. He invested 30 million Yuan before Yu Dong (President of Bona Film Group Limited) joined. "Both the director and I wanted the film to come out, so we calculated the cost and used it to produce, what I lost was just my salary, just count it as finding someone to play with me for two months.[14]
Hui's 2014 film The Golden Era premiered Out of Competition at the 71st Venice International Film Festival. The film was a biopic based on the lives of writers Xiao Hong and Xiao Jun. Tang Wei and Feng Shaofeng starred.
Our Time Will Come (Chinese: 明月幾時有) is a 2017 war film, starring Zhou Xun, Eddie Peng and Wallace Huo. It revolves around the resistance movement during Japan's occupation of Hong Kong. The film opened in China on 1 July 2017 to commemorate and to coincide with the 20th anniversary of the handover of Hong Kong from the United Kingdom to China.
Style and Themes
Ann Hui, as a female director, starts with the female perspective, depicting the hearts of women. Most of her films show daily life of women in Hong Kong and create vivid female images through delicate artistic expression. In her movies, women are independent individuals with their own personality. Her films are always full of a sense of drama, but they do not make the audience feel hopeless. They all have an atmosphere of grief, but without pessimism. In her films, there is no terrible conflict, but she uses a plain method to represent the female world. In her movies, women always feel powerlessness, but all of them do not surrender to fate and work hard and strive. Hui's feminist film works are rich with women's emotions and female consciousness, making the audiences feel the struggle and warmth of women's lives.[15]
As one of a leading figure of Hong Kong's New Wave, Hui has been continuously challenging herself and trying to broaden her film career while bringing audiences surprises. This is highlighted in her tendency for telling women's stories over the years, forming her unique artistic style. As a female filmmaker, Hui has created various female images by using the film language, which is unique in the Hong Kong film industry.[16]
Hui's films reflect diverse female images. Firstly, she creates submissive women, for example, with Sum Ching in The Story of Woo Viet (1982), Cam Nuong in Boat People (1982), Mang Tit Lan in Zodiac Killers (1991), and Ling in Night and Fog (2009). Facing the injustice of life, these women will only passively accept the arrangement of fate, and silently endure the hardship of life. Director Hui gives more attention and sympathy to such women, and such films permeate her deep thinking on female destiny. However, Hui also creates female characters with strong sense of rebellion, such as Bai Liu-Su in Love in a Fallen City (1984), May Sun in Summer Snow (1995), Gu Manzhen in Eighteen Springs (1997), and Xiao Hong in The Golden Era (2014), etc. In these films, women are no longer the submissive and coward appendages of traditional patriarchy. Instead, they become women who are courageous to fight for their rights.[16]
Filmography
As filmmaker
| Year | Title | Role | Notes |
|---|---|---|---|
| 1978 | Below the Lion Rock: From Vietnam; Bridge; Road. | Director | "From Vietnam" - Hui's first part to her "Vietnam trilogy," |
| 1979 | The Secret | Director | Hui's first feature film. The suspense drama about a real-life double murder. |
| 1980 | The Spooky Bunch | Director | A satiric film about a Cantonese opera company that must go to Cheung Chau to perform for a wealthy man. However, the company soon learns that the man is being haunted by a ghost. |
| 1981 | The Story of Woo Viet | Director | Starring Chow Yun-fat, the film is Hui's second part to her "Vietnam trilogy," which follows the story of a South Vietnamese refugee in Hong Kong. This film was one of the first political Hong Kong-made dramas. It was screened at the Director's Fortnight of the Cannes Film Festival. |
| 1982 | Boat People | Director | The third installment of Hui's "Vietnam trilogy." Andy Lau plays one of several Vietnam refugees, who are forced to flee to Hong Kong. The film was an Official Selection at Cannes and Best Film at the Hong Kong Film Awards |
| 1984 | Love in a Fallen City | Director | Taking place just before the Japanese invasion of Hong Kong, a young man pursues an introverted divorcee. |
| 1986 | The Romance of Book and Sword | Director/Writer | The first part of Hui's Qing Dynasty epic. The film is based on a novel from an old folk's tale. Unlike most of Hui's films, this film falls under the genre of martial-arts and action/adventure. |
| 1987 | Princess Fragrance | Director | The second part of Hui's Qing Dynasty epic. The film journeys through the final half of the Louis Cha's novel The Book and the Sword. |
| 1988 | Starry Is the Night | Director | A school counselor has an affair with a young student and parallels a past affair the counselor had with her professor.[17] |
| 1990 | Song of the Exile | Director | A film loosely based on Hui's experience of returning to Hong Kong after her time in London. The film also reflects the female protagonist's relationship with her Japanese mother. |
| 1990 | The Swordsman (uncredited) | Director | |
| 1990 | My American Grandson | Director | An elderly Chinese man becomes the caretaker of his 12-year-old grandson. The film compares the differences of Eastern and Western culture, and analyzes how American born Chinese disassociates themselves their native culture. |
| 1991 | Zodiac Killers | Director | Also starring Andy Lau, the crime and drama filled film takes place in Tokyo with a documentary style.[18] |
| 1993 | Boy and His Hero | Director | |
| 1995 | Summer Snow | Director | A comedy-drama about a working woman and her husband and son. The woman must care for her father-in-law, whom she had never gotten along with. The film centers around the woman's situation and how she copes with her father-in-law's Alzheimer's. The film has received several awards. |
| 1996 | The Stunt Woman | Director | The melodrama about a stunt woman (Michelle Yeoh), who is struggling in Hong Kong's film industry. The film is most famous for Yeoh's brush with death, as she misjudged an 18-foot leap from a bridge to a truck. |
| 1997 | Eighteen Springs | Director | A period film of 1930s Shanghai, where a young woman falls in love with a factory worker. However, things get complicated when the factory worker's parents have arranged a marriage for him. |
| 1997 | As Time Goes By | Director/Writer | A man regrets his wish for time to speed up when it comes true. He begins to quickly realize the pitfall of rushing through life. |
| 1999 | Ordinary Heroes | Director/Producer | The film revolves around the lives of social reform activists in Hong Kong. It competed at the 49th International Berlin Film Festival in 1999. |
| 2001 | Visible Secret | Director/Producer | A horror-comedy film, in which a woman, June, believes she can see ghosts. |
| 2002 | July Rhapsody | Director/Producer | The film follows the story of a high school teacher with a good life and family. However, the film shows the deterioration of relationships and marriages when a young student falls in love with the teacher. |
| 2003 | Jade Goddess of Mercy | Director | The film is an adaptation of a popular book that describes the lives of everyday police men. The protagonist is a female police officer, who must deal with choices between three men in her life and her career. |
| 2006 | The Postmodern Life of My Aunt | Director/Writer | A woman in her sixties discovers she is falling behind in the times, as she loses her job as an English tutor. Throughout the film, several people (including her own nephew) take advantage of her naiveté, which leaves her penniless. |
| 2008 | The Way We Are | Director | This drama tells the story of a working woman, Kwai, who must take care of her teenage son and ailing mother. Kwai befriends an older woman, and the two learn to help each other during a time where employment is scarce and any kind of assistance is highly appreciated. |
| 2009 | Night and Fog | Director/Producer | A family struggles in Tin Shui Wai, while marriage between husband and wife turns fatal. There is no social, physical, or emotional escape for the wife, who is an immigrant to Hong Kong, of an abusive husband. |
| 2010 | All About Love | Director/Producer | The film portrays the difficulty and challenges in which lesbians in Hong Kong must face. It also explores the idea of the queer women starting families using non-traditional methods. |
| 2011 | A Simple Life | Director/Producer | A story about an elderly female servant, who has watched over a family for many generations. Andy Lau is the only family member left in Hong Kong, and the film follows the relationship between servant and master. |
| 2014 | The Golden Era | Director | The film takes the Republic of China era as the background, takes the Republic of China legendary female writer Xiao Hong's life and love experience as the introduction, molds in those days when a group of enthusiastic youth with high spirits, restores an age full of free ideal. |
| 2017 | Our Time Will Come | Director | Based on the true story of the famous "DongJiang column" in Hong Kong's Anti-Japanese history, Set in the 1940s, the film tells the story of a legendary woman "Fang Gu" (Zhou Xun), who is one of the key figures during the Japanese occupation of Hong Kong. It also portrays the fight and struggle for freedom and independence by youths of the resistance groups. |
As actress
Ann Hui has appeared mostly in cameo roles in several films:
- Love Massacre (1981)
- Winners and Sinners (1983) - Fast food clerk
- Summer Snow (1995) - Neighbour
- Somebody Up (1996) ... Teacher
- Who's the Woman, Who's the Man? (1996)
- The River (1997) - Director
- Jiang hu: The Triad Zone (2000)
- Merry-Go-Round (2001)
- Forever and Ever (2001)
- Fighting to Survive (2002)
- My Name Is Fame (2006) - Film director
- Simply Actors (2007)
- Echoes of the Rainbow (2010) - Kindergarten teacher
- Our Time Will Come (2017) - Interviewer
Awards and nominations
Further reading
- Erens, Brett. "Crossing Borders: Time Memory, and the Construction of Identity in "Song of the Exile"." Cinema Journal. 39.4 (2000): 43-59.
- Edwards, Russell. "Night and FogTin Shui Wai dik ye yu mo (Hong Kong) ." Variety. 30 Mar 2009: n. page. Web. 7 May. 2012.
- Hui, Ann, and Lawrence Chua. "Ann Hui." Bomb. 36. (1991): 28–30.
- Lau, Jenny Kwok Wah. "Besides Fists and Blood: Hong Kong Comedy and Its Master of the Eighties." Cinema Journal. 37.2 (1998): 18–34.
- Saltz, Rachel. "In Old Age the Servant Becomes the Served." New York Times. 12 Apr 2012: n. page. Web. 7 May. 2012
See also
- List of graduates of University of Hong Kong
- List of female film and television directors
- List of LGBT-related films directed by women
References
- ^ Freda Freiberg (4 October 2002). "Border Crossings: Ann Hui's cinema". Senses of Cinema. Retrieved 10 December 2012.
- ^ Olivia Khoo; Sean Metzger (2009). Futures of Chinese Cinema: Technologies and Temporalities in Chinese Screen Cultures. Intellect Books. p. 110. ISBN 978-1-84150-274-8.
- ^ "Hong Kong Film Directors' Guild". www.hkfdg.com. Retrieved 24 March 2019.
- ^ Stedman, Alex; Stedman, Alex (28 June 2017). "Academy Invites Record 774 New Members". Variety. Retrieved 9 August 2019.
- ^ "Ann Hui". The New York Times.
- ^ a b c 许鞍华电影中的人文情怀解读 - 中国期刊全文数据库. gb.oversea.cnki.net. Retrieved 14 November 2018.
- ^ "Ann Hui Films | Ann Hui Filmography | Ann Hui Biography | Ann Hui Career | Ann Hui Awards | Film Director | Movie Director | Film Directors | Movie Directors | Filmmaker". FilmDirectorsSite.com. 23 May 1947. Retrieved 10 December 2012.
- ^ "Director Ann Hui (許鞍華) completes Tin Shui Wai diptych". YouTube. 22 April 2009. Retrieved 10 December 2012.
- ^ a b "許鞍華", 维基百科，自由的百科全书 (in Chinese), 15 October 2018, retrieved 14 November 2018
- ^ Stuart Whitmore (30 November 2000). "Hong Kong director Ann Hui hits the festival circuit with her Ordinary Heroes". Asiaweek. CNN. Archived from the original on 29 May 2010. Retrieved 18 April 2010.
- ^ "Berlinale: 1996 Juries". berlinale.de. Retrieved 1 January 2012.
- ^ Ma, Kevin (May 2009). "The Life and Times of Ann Hui". Muse Magazine (28): 19.
- ^ Chu, Karen. "Hong Kong Chooses Ann Hui's 'A Simple Life' for Oscar Foreign Language Submission". Retrieved 4 October 2015.
- ^ 网易. 《桃姐》无人投资 许鞍华靠一句话打动刘德华_网易娱乐. ent.163.com. Retrieved 16 November 2018.
- ^ 许鞍华电影作品中的女性形象 - 中国期刊全文数据库. gb.oversea.cnki.net. Retrieved 14 November 2018.
- ^ a b 许鞍华电影中女性主义立场解读 - 中国期刊全文数据库. gb.oversea.cnki.net. Retrieved 14 November 2018.
- ^ Brian. "Starry is the Night". Brns.com. Retrieved 10 December 2012.
- ^ "Zodiac Killers". sogoodreviews.com. Retrieved 10 December 2012.
- ^ "Berlinale: 1995 Programme". berlinale.de. Retrieved 1 January 2012.
- ^ "Berlinale: 1997 Prize Winners". berlinale.de. Retrieved 14 January 2012.
- ^ "Berlinale: 1999 Programme". berlinale.de. Retrieved 4 February 2012.
- ^ "26th Moscow International Film Festival (2004)". MIFF. Archived from the original on 3 April 2013. Retrieved 6 April 2013.
- ^ a b "Hong Kong director Ann Hui honoured for life's work". Channel NewsAsia. 18 March 2012. Retrieved 10 December 2012.
External links
Awards for Ann Hui | |||||
|---|---|---|---|---|---|
|
- 1947 births
- Living people
- Alumni of the University of Hong Kong
- Chinese women film directors
- Hong Kong film actresses
- Hong Kong film directors
- Hong Kong film producers
- Hong Kong people of Japanese descent
- Hong Kong screenwriters
- Hong Kong women writers
- Best Director Asian Film Award winners
- Members of the Order of the British Empire
- People from Anshan
- Screenwriters from Liaoning
- Actresses from Liaoning
- Film directors from Liaoning
- Asian film producers
- Alumni of the London Film School
- Chinese film directors
- Hong Kong women artists