Ann Hui

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Ann Hui

Director Ann Hui @ Broadway Cinematheque.JPG
Ann Hui answering questions following a screening of The Way We Are at the Broadway Cinematheque in Yau Ma Tei.
Hui On-wah

(1947-05-23) 23 May 1947 (age 74)
Alma materLondon Film School
OccupationFilm director, producer, screenwriter, actress
Years active1979-present
Hong Kong Film AwardsBest 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
1996 Summer Snow
2000 Ordinary Heroes
2012 A Simple Life

Golden Bauhinia AwardsBest Director
1996 Summer Snow

Hong Kong Film Critics Society AwardsBest Director
2002 Visible Secret
2008 The Postmodern Life of My Aunt
2009 The Way We Are

Asian Film AwardsLifetime Achievement Award
Best Director
2015 The Golden Era

Golden Horse AwardsBest Director
1999 Ordinary Heroes
2011 A Simple Life
2014 The Golden Era

Best Film
1999 Ordinary Heroes

Chinese name
Traditional Chinese許鞍華
Simplified Chinese许鞍华
Japanese name
Kanji許 鞍華

Ann Hui On-wah, BBS MBE (Chinese: 許鞍華; born 23 May 1947)[1] is a Hong Kong film director, producer, screenwriter and actress who 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.[2]

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; and Best Director at the Hong Kong Film Awards six times (1983, 1996, 2009, 2012, 2015, 2018).

Only two films have achieved a Grand Slam (winning best picture, best director, best screenplay, best actor, and best actress) at the Hong Kong Film Awards; they are Summer Snow and A Simple Life, both of which were 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.[3]

Early life[edit]

On 23 May 1947, Hui was born in Anshan, Liaoning Province, Manchuria. Hui's mother was Japanese and her father was Chinese. In 1952, Hui moved to Macau, then Hong Kong at the age of five. Hui attended St. Paul's Convent School.[4]


In 1972, Hui earned a Master's in English and comparative literature from the University of Hong Kong. Hui studied at the London Film School for two years. Hui completed her thesis on the works of Alain Robbe-Grillet, a French writer and filmmaker.


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]

In 1979, Hui finally directed her first feature-length film, The Secret, which earned Golden Horse Award for Best Feature Film. [6]

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.[7] 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 1990 film My American Grandson.

Hui's concern for regular people, and especially women, became the most common theme in her films. She creates stories of the subjective experience of women.[7] One of her most personal works is Song of the Exile (1990), a semi-autobiographical film about family connections and identity.[7] It depicts the story of a young woman, Cheung Hueyin, returning to Hong Kong for her sister's wedding after studying film in London for several years. Hueyin and her mother, who is Japanese, do not seem to have a steady relationship. As the film follows Hueyin's journey to her mother's hometown in Japan, Hueyin and her mother are forced to reexamine their relationship, as both have lived through being uprooted from one's own country. The film won both the Hong Kong Film Awards and Golden Horse Award for Best Director. She served as the president of the Hong Kong Film Director's Guild in 2004.

In the 1990s, Hui's worked on more commercialized films. She directed fewer films herself, as she focused on behind-the-scenes work for other filmmakers. The theme of displacement still recurs in most of her work. During the mid-1990s, Hui tried to start a film project about the Tiananmen Square massacre and the reactions of Hong Kong citizens. The project was never made due to lack of 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.[8]

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.[9]

The annual and highly anticipated Hong Kong International Film Festival was held for its 45th edition in April 2021. Hui is one of the six veteran Hong Kong filmmakers who directed renowned local director Johnnie To Kei-fung's highly anticipated anthology series : "Septet: The story of Hong Kong (2021)". The other filmmakers include Sammo Hung, Ringo Lam, Patrick Tam Kar Ming, Tsui Hark, Yuen Woo-ping and Johnnie To. The short files were shot entirely on 35mm film with each of them touches on a nostalgic and moving story set across different time periods, with every one acting as an ode to the city.[10]

Vietnam Trilogy[edit]

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.[11]

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.[11]

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[edit]

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.[12]

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[edit]

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.[13]

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.'[14]

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.[15] 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.[16]

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.

The 2021 documentary film, Keep Rolling, provides an insight into her life's work.[17]

Style and Themes[edit]

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.[18]

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.[19]

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.[19]


As filmmaker[edit]

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.[20][21][22]
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.[4]
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.
1987 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.[4]
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.[4]
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.[23]
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.[4]
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.[24]
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.[4]
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.[25]
2001 Visible Secret Director/Producer A horror-comedy film, in which a woman, June, believes she can see ghosts.[4]
2002 July Rhapsody Director/Producer The film is about the relationships of a young female student falling in love and seducing her teacher.[25][26]
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.[4]
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.[22]
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. [22]
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.
2020 Love After Love Director/Producer Based on Eileen Chang's novella, Aloeswood Incense: The First Brazier, to concoct a visually stunning, sprawling love story set in 1940s Hong Kong.The film tells the story of a young girl who travels from Shanghai to Hong Kong in pursuit of education, but ends up working for her aunt seducing rich and powerful men.

As actress[edit]

Ann Hui has appeared mostly in cameo roles in several films:


Film awards[edit]

Year Award Category Nominated work Result
1983 2nd Hong Kong Film Awards Best Director Boat People Won
Best Picture Won
1988 7th Hong Kong Film Awards Best Director The Romance of Book & Sword Nominated
1990 Asia Pacific Film Festival Best Film Song of the Exile Won
Rimini Festival Best Film Nominated
Golden Horse Film Festival and Awards Best Film Nominated
1991 10th Hong Kong Film Awards Best Director Nominated
Best Picture Nominated
1995 45th Berlin International Film Festival[27] Golden Bear Summer Snow Nominated
Golden Horse Film Festival and Awards Best Film Won
Golden Bauhinia Awards Best Director Won
Best Picture Won
Hong Kong Film Critics Society Best Picture Won
Créteil International Women's Film Festival Best Film Won
68th Academy Awards Best Foreign Language Film Not Nominated
1996 15th Hong Kong Film Awards Best Director Won
Best Picture Won
1997 47th Berlin International Film Festival[28] Berlinale Camera N/A Won
Order of the British Empire Awarded MBE (Member of British Empire) N/A Honored
1999 36th Golden Horse Awards Best Director Ordinary Heroes Won
72nd Academy Awards Best Foreign Language Film Not Nominated
49th Berlin International Film Festival[29] Golden Bear Nominated
2000 19th Hong Kong Film Awards Best Director Nominated
2001 8th Hong Kong Film Critics Society Awards Best Director Visible Secret Won
2002 21st Hong Kong Film Awards Best Director Nominated
July Rhapsody Nominated
2004 26th Moscow International Film Festival[30] Golden George Jade Goddess of Mercy Nominated
Verona Film Festival Audience Award Won
Best Film Nominated
2007 14th Hong Kong Film Critics Society Awards Best Director The Postmodern Life of My Aunt Won
2008 27th Hong Kong Film Awards Best Director Nominated
15th Hong Kong Film Critics Society Awards Best Director The Way We Are Won
2009 28th Hong Kong Film Awards Best Director Won
2010 29th Hong Kong Film Awards Best Director Night and Fog Nominated
2011 48th Golden Horse Awards Best Director A Simple Life Won
84th Academy Awards Best Foreign Language Film Not Nominated
2012 31st Hong Kong Film Awards Best Director Won
Hong Kong International Film Festival Lifetime Achievement Award[31] N/A Honored
Asian Film Awards Lifetime Achievement Award[31] N/A Honored
2015 34th Hong Kong Film Awards Best Director The Golden Era Won
Best Film Won
2017 54th Golden Horse Awards Best Director Our Time Will Come Nominated
2018 12th Asian Film Awards Best Director Nominated
37th Hong Kong Film Awards Best Film Won
Best Director Won
2021 20th New York Asian Film Festival Star Asia Lifetime Achievement Award[32][33] N/A Honored

Personal awards[edit]

Further reading[edit]

See also[edit]


  1. ^ 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.
  2. ^ "Hong Kong Film Directors' Guild". Retrieved 24 March 2019.
  3. ^ Stedman, Alex (28 June 2017). "Academy Invites Record 774 New Members". Variety. Retrieved 9 August 2019.
  4. ^ a b c d e f g h i Frater, Patrick (3 October 2014). "Ann Hui: Asian Filmmaker of the Year Quietly Built Hefty Resume". Retrieved 17 October 2020.
  5. ^ "Ann Hui". Movies & TV Dept. The New York Times. Baseline & All Movie Guide. 2008. Archived from the original on 23 January 2008.
  6. ^ Lee, Edmund (21 May 2017). "Ann Hui, most celebrated director in Hong Kong film history, turns 70". Retrieved 17 October 2020.
  7. ^ 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. Retrieved 14 November 2018.
  8. ^ "Ann Hui Films | Ann Hui Filmography | Ann Hui Biography | Ann Hui Career | Ann Hui Awards | Film Director | Movie Director | Film Directors | Movie Directors | Filmmaker". 23 May 1947. Retrieved 10 December 2012.
  9. ^ "Director Ann Hui (許鞍華) completes Tin Shui Wai diptych". YouTube. 22 April 2009. Retrieved 10 December 2012.
  10. ^ "Must-watch Chinese film premieres at the 2021 Hong Kong International Film Festival". 2021-04-07
  11. ^ 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
  12. ^ 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.
  13. ^ "Berlinale: 1996 Juries". Retrieved 1 January 2012.
  14. ^ Ma, Kevin (May 2009). "The Life and Times of Ann Hui". Muse Magazine (28): 19.
  15. ^ Chu, Karen. "Hong Kong Chooses Ann Hui's 'A Simple Life' for Oscar Foreign Language Submission". Retrieved 4 October 2015.
  16. ^ 网易. 《桃姐》无人投资 许鞍华靠一句话打动刘德华_网易娱乐. Retrieved 16 November 2018.
  17. ^ Lee, Edmund. "Keep Rolling movie review: Ann Hui documentary is a must-see for Hong Kong movie fans in this surprisingly funny portrait". SCMP. Retrieved 8 March 2021.
  18. ^ 许鞍华电影作品中的女性形象 - 中国期刊全文数据库. Retrieved 14 November 2018.
  19. ^ 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. Retrieved 14 November 2018.
  20. ^ "The Secret 1979". 1979. Retrieved 17 October 2020.
  21. ^ "Hong Kong Film Festival". 5 August 2018. Retrieved 17 October 2020.
  22. ^ a b c d Vivarelli, Nick (20 July 2020). "Venice Film Festival to Honor Tilda Swinton, Ann Hui With Golden Lions for Career Achievement". Retrieved 17 October 2020.
  23. ^ Brian. "Starry is the Night". Retrieved 17 October 2020.
  24. ^ "Zodiac Killers". Retrieved 10 December 2012.
  25. ^ a b Freiberg, Freda (October 2002). "Border Crossings: Ann Hui's cinema". Retrieved 18 October 2020.
  26. ^ Stratton, David (12 February 2002). "July Rhapsody". Retrieved 18 October 2020.
  27. ^ "Berlinale: 1995 Programme". Retrieved 1 January 2012.
  28. ^ "Berlinale: 1997 Prize Winners". Retrieved 14 January 2012.
  29. ^ "Berlinale: 1999 Programme". Retrieved 4 February 2012.
  30. ^ "26th Moscow International Film Festival (2004)". MIFF. Archived from the original on 3 April 2013. Retrieved 6 April 2013.
  31. ^ a b "Hong Kong director Ann Hui honoured for life's work". Channel NewsAsia. 18 March 2012. Retrieved 10 December 2012.
  32. ^ "The 20th New York Asian Film Festival is Here!". NYAFF. 19 July 2021. Retrieved 25 July 2021.
  33. ^ "Unveiling the Second Wave of Titles and Award Honoree Ann Hui for the 20th Edition of the New York Asian Film Festival". Film at Lincoln Center. 19 July 2021. Retrieved 25 July 2021.
  34. ^ "Ann Hui wins lifetime achievement award at Venice festival". 9 September 2020. Retrieved 17 October 2020.

External links[edit]