Ho Fan

Confirmed bachelor Man Suen, a university professor, must get married by the age of 35, otherwise he and his playboy brother, Ray Suen, won't inherit his father's fortune of 50 million dollars, which will then go to his uncle. He is unaware that his colleague, the prim Miss Cheung, is in love with him and that she dreams of being rescued by her hero. His brother has met a young heiress, but his uncle has hired a sexy siren to prevent the marriage.

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After a one night stand, a successful single mother helps her son find his father by placing an ad in the newspaper.

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A compelling study of three girls and the paths they choose to stardom when they cross paths with a womanizing artist.

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Lung (Tony Poon), a rookie bodyguard, falls in love with the first subject he's overseeing, May (May Cheung). She has come to Hong Kong with false hopes of being a singer, but she's unwillingly set to enter the world of prostitution instead. Into this equation comes a model agency head (Margaret Lee – We're Going To Eat You) who's determined to conquer the love of Lung.

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Before Michael Mak’s Sex And Zen became a cult favourite in the ’90s, there was Ho Fan’s Yu Pui Tsuen (The Carnal Prayer Mat, 1987). But without sex bomb Amy Yip, coarse humour or lesbian love affairs, Yu Pui Tsuen had to rely on the nudity and sex from his cast of relative unknowns to save the day. When a young man dreams that he drowns after a night of carnal passion, he asks a buddhist monk to translate the experience for him. The monk replies that the dream is a warning not to indulge the pleasures of the flesh to excess, but the man ignores his advice, marrying a virgin and making love to her constantly. However, after several torrid affairs, the man begins to realise the sagacity of the monk's warning.

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Adapted from the same infamous ancient text as the popular 1992 opus Sex and Zen, this film. Mei Yeung-sun is a man of letters who is less than thrilled with his sex life with his comely young wife Ti Yuk-xiang. Yet when Mei uncovers the family sex manual, their physical relationship improves considerably. So successful is the transformation that the two spend all of their time in the sack, much to the consternation of the girl's father. Later, Mei leaves home supposedly to become an official in the big city. In fact, Mei really plans to troll around the countryside and have sex with as many women as possible. Thanks to the advice of master thief Tsoi Kwun-lung, Mei visits a noted doctor and leaves the place with a massive newly installed penis. Brimming with cocksure confidence, he soon seduces lonely housewife Yim-fong. Her thuggish husband Kuan Low-si soon gets his revenge.

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Kong Ping has a half brother Kong Shek, a playboy, and another brother Kong Fai, who was adopted by her parents, and is an honest doctor, single. A couple of lover comes to the family Christmas party -- Fan Lin and Daisy Ha. Fan Lin maintains sexual relations with Daisy Ha, but marries Kong Ping, just for better future. As an avenger, Daisy Ha marries Kong Fai. Still, she maintains an affair with Fan Lin. Meanwhile, Kong Shek courts Daisy Ha constantly. The two gradually develop love between themselves.

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Pin-up photographer meets the girl he wants to marry.

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The psychotic son of a rich man continues to get away with raping young women, with the help of an unscrupulous lawyer. A journalist working for a women's magazine becomes involved when her friend becomes a victim. Because of her campaigning efforts, the journalist herself becomes a target of the vicious brat's attentions.

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A beautiful young unwed mother-to-be from Tainan arrives in Taipei city in search of the father is sidetracked by a smart-Aleck Hong Kong expatriate taxi driver who aids her search but eventually falls in love with the girl after her efforts to reunite with the absentee father prove fruitless.

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A sex comedy by the Shaw Brothers studio.

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Wang, a womanising businessman miles away from home, makes it a sport to seduce young women. After one of his conquests got pregnant with his child and died after the abortion, one after another of his lovers are found murdered. It is only when he is arrested and convicted for these crimes that he finds himself embroiled in a plot of revenge. Based on the work of Japanese novelist Togawa Masako which was previously adapted by director Nakahira Kō into The Hunter’s Diary (1964 in Japan) and the Hong Kong version Diary of a Lady-killer (1969), Ho Fan’s remake, his third film for Shaw Brothers as director, is a stylistic tour de force and a more authentic rendering than the 1969 version, grippingly suspenseful and provocative with clever shots, dark humour, and sophisticated treatment of contemporary attitudes about sexual liberation, exploring the conflicts over human nature and desire. (By Reel to Reel Institute)

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Ho Fan started his career as a Shaw Brothers actor, best known for his role as the monk Tang Seng in the classic Monkey Goes West film series. As a director, however, his forte was erotica. Like Li Han Hsiang, Ho Fan was a pioneer of the aesthetic school of erotica, known for his luscious cinematography and seductive lens. He is certainly one of the few Hong Kong erotica filmmakers to have made a respectable name for himself with Category III offerings like Adventure in Denmark, Yu Pu Tuan, and 1977's Innocent Lust. One of Ho Fan's representative works, Innocent Lust stars Ai Fei, Chan Chun Ho, and Lam Choi as college friends who are unlucky in love. They decide to go to a night club, and are surprised to discover that their innocent-looking classmate (Chan Wai Ying) works as a hostess there. When they step up to defend her from a lecherous old man, the encounter sparks off an unexpected journey of love and lust.

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One day, due to carelessness. Ah Chung is fired from his job as a toilet attendant. Out of sympathy, Ah Lien, a waitress who he secretly admires, gives him financial help. When the much indebted Ah Chung found another job, he went to return the money to Ah Lien but was disappointed to learn that she had left and married. Years later, their paths cross again in a strip-tease joint.

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Dana is the long-haired temptress who sends a married rogue from a swinger’s bed to a hospital bed.

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Haunted by her past, an ailing young woman who recently lost her mother and the roof over her head is reluctant to accept the generosity of an older man who fell out with his own daughter whose affair with his boss's son cost him his job; her reasons are revealed only after her death and when the past is dredged up. Based on Fyodor Dostoyevsky’s Humiliated and Insulted, the film was filmed and distributed in Taiwan however was not released in Hong Kong. It is Ho Fan’s first attempt to fulfil his vision for an art house production in mainstream cinema which breaks the mould by mixing the nuance of art films with popular culture in a confrontation between the old and the new. It was selected in the 1980s by Hsu Li-Kong, director of then Film Library of the Motion Picture Development Foundation (now Taiwan Film and Audiovisual Institute), as part of its permanent collection. (By Reel to Reel Institute)

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Hong Kong movie

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Two Chinese men go to Copenhagen for some reason. While one of them philanders around with various Danish and Asian women, the other falls in love with his Chinese tour guide, but takes time to have various drawn-out kung fu battles with a seemingly endless amount of thugs sent by his partner's overweight and very jealous girlfriend back home.

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Hong Kong 1972. Shiu Pang is a poorly paid photographer with a very jealous fiancee. One day he meet an innocent girl and he falls in love with her. His fiancee decides to give a lesson to the young girl by sending a bunch of youngsters beating her and things goes worse and worse, the photographer's best friend dies in fighting the gangsters and the girl loses his mind, ending up in an asylum.

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Caught between two entirely different women, an artist finds himself in conflict between the spiritual and the sensual, and at the same time lost creatively in the cultural clash between East and West. Based on Ho Fan’s 1966 experimental short Assignment, Part One, Lost depicts the artistic and carnal obsession of the modern creative mind. A departure from mainstream Cantonese and Mandarin films with European and Japanese new wave influences, it is shot with the colours of the 1960s and Lishan, Taiwan as backdrop. Sun Po-ling, an artist in her own right, co-directed and invested in the film, acting also as producer and make-up artist. She took the film to premiere in Cannes in 1970 and then screened it in Germany and the United States, while her ambition to release it locally in the foreign films theatre circuits did not materialise. Lost for half a century, this pioneering independent feature in the 1960s resurfaced in a print found in Taiwan by Reel to Reel Institute (Hong Kong).

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