appConfigEntityId

bodyType

customContents

entityId

entityUuid

isVideo

articlePageQuery

article

articleSchemaContent

content

hooksArticlePageAdvertisementConfigArticle

hooksArticlePageFloatingButtonConfigArticle

appConfig

filter

json

liveArticle

Richard James Havis

Chow Yun-fat’s career has progressed through many phases: television performer, box-office poison, action superhero, Hollywood hopeful.
In the 2000s, following the success of Crouching Tiger, Hidden Dragon, the Hong Kong cinema icon made a number of films in mainland China, beginning with Zhang Yimou’s Curse of the Golden Flower.
Here, we evaluate the quality of Chow’s mainland output.
The Postmodern Life of my Aunt (2006)


Superstar mainland actress Siqin Gaowa was popular in Hong Kong in the 1980s and ’90s, and the big draw of Ann Hui On-wah’s light social drama is seeing her play a provincial woman who has failed to benefit from China’s economic boom.
Opposite her is Chow as a sleazy charmer with whom she has a brief and unexpected affair. Chow, in a supporting role, acts against type and forgoes his typical heroic qualities to play a preening con man, aided by a shifty-looking moustache.
“The director provides the star with a cinematically eye-catching introduction, via a shot of his backside as he sings Chinese opera alfresco in the park,” wrote Post critic Paul Fonoroff. “When Chow’s face is revealed, it’s a joyful jolt – it’s been too long since he has assayed a contemporary Asian part.”
Chow and Siqin Gaowa both play educated provincial people who have not been able to adjust to Chinese capitalism.
“They are the embodiment of provincial despair,” Hui told Clarence Tsui in a Post interview. “They feel they’re forever to be second-class citizens left behind by the affluent cities.”
Confucius (2010)


This state-backed “main melody” (propaganda) film about the eminent Chinese philosopher was a box-office flop when it was released in 2010 – Chinese audiences flocked to see Avatar instead.
Many of them complained as soon as Chow was cast in the title role, noting he was a Cantonese speaker with poor Mandarin skills. But Chow’s performance is commendable, and he endows his portrayal with charisma and the necessary introspection.
“Chow Yun-fat is a commanding screen presence as Confucius,” wrote Derek Elley, an expert in Chinese films, in Variety. “Combining calm sagacity with a potent physicality, Chow carries the biopic almost single-handedly and prevents it from becoming overly respectful.”
Playing Confucius from his middle years through to old age, Chow brings a humanity to the role that manages to make his many pronouncements about how to live seem heartfelt rather than magisterial.

The film was directed by Hu Mei, one of China’s venerated Fifth Generation directors who mainly worked in television. Hu’s vision of the philosopher’s life is a bit off-key, as the script depicts Confucius as a philosopher, but also as a brilliant military strategist – something he was not.
The story focuses tightly on civility, boiling the sage’s philosophy down to one core maxim: do not do to others what you would not want done to yourself.
Like Confucius himself, who said that he did not invent anything new but simply channelled the ideas of the thinkers who came before him, Chow proves to be a good mouthpiece for such thoughts.
Let the Bullets Fly (2010)


Chow plays a villainous town boss in this dark comedy directed by and starring Jiang Wen, who is as big a star on the mainland as Chow is in Hong Kong.
The story, which is set in China’s warlord era of the 1920s, features Jiang as a bandit who takes on the identity of a town mayor, resulting in the death of the son of Chow’s warlord in the process. The unknowing Chow then hires Jiang to track down and murder the bandit – which is, of course, Jiang himself.
Part of a trio of actors rounded out by Ge You, one of the mainland’s top comedians, Chow ends up playing third fiddle in a set-up that demands simply that he looks cool and flashes his trademark smile on cue.

Although Jiang, who has described the film as a Chinese version of Ocean’s Eleven, gives Chow plenty of screen time, it is clearly the actor-director’s show, and he seems unwilling to step out of the limelight. Chow is sidelined, and his performance lacks verve.
The film was a massive hit in mainland China, and “perhaps takes a native Chinese to fully appreciate”, noted Post film editor Edmund Lee.
The Last Tycoon (2012)


Chow is usually at his best when directed by Hong Kong filmmakers, and this mainland co-production proves to be no exception.
Here he plays Cheng Daqi, a 1930s Shanghai kingpin who is asked to find the whereabouts of a revolutionary leader by the Nationalist army. Unfortunately, the revolutionary happens to be the husband of Cheng’s teenage sweetheart.
The Last Tycoon transports a roster of top Hong Kong talent to Shanghai, including director Wong Jing, co-producer and cinematographer Andrew Lau Wai-keung, Sammo Hung Kam-bo, and Francis Ng Chun-yu.
Having his friends around him seems to have relaxed Chow, and he delivers a multifaceted portrayal of a complex criminal character – ruthless but romantic, vicious but honourable, brutal but thoughtful.
The Assassins (2012)


Set around the start of the third century AD – a little after John Woo Yu-sum’s Red Cliff – this period costume drama by Zhao Linshan revolves around courtly intrigue and murder.
Chow plays the warlord Cao Cao, who, while maintaining his grip on power, must avoid numerous assassination attempts, including those of a young woman who has been trained to kill him since childhood.
Although the storyline is needlessly complicated, Chow brings gravitas to his role. Channelling the spirit of Orson Welles, he looks portly and domineering, enjoying bellowing at his co-stars and delivering sombre monologues about the meaning of life.
But unlike Crouching Tiger, Hidden Dragon and The Curse of the Golden Flower – to which Assassins has similarities – he is rarely called on to do any fighting, preferring instead to intimidate his enemies with a glare.
In this regular feature series on the best of Hong Kong cinema, we examine the legacy of classic films, re-evaluate the careers of its greatest stars and revisit some of the lesser-known aspects of the beloved industry.
Want more articles like this? Follow SCMP Film on Facebook.


From Cheng Pei-pei to Michelle Yeoh, Hong Kong cinema’s history of action heroines

Hong Kong film festival celebrates 37 years of queer cinema

Famous Chinese women in folklore, from Hua Mulan to a consort who brought down a dynasty

‘Rest in eternal peace’: veteran horror actor, filmmaker Simon Loui dies at age 62

Asian cinema: Hong Kong film

Chow Yun-fat’s mainland Chinese films, from Confucius to Let the Bullets Fly

Chow Yun-fat in a still from Let the Bullets Fly (2010).

Chow Yun-fat in a still from The Last Tycoon (2012), a Hong Kong-mainland Chinese co-production. Photo: courtesy of MediAdvertising (HK)

Chow Yun-fat and Zhou Xun attend the press conference for the premiere of Confucius, in Shanghai, China, on January 16, 2010. Photo: Xinhua

(From left) Chow Yun-fat, Jiang Wen and Ge You in a still from Let the Bullets Fly (2010).

How Johnnie To redefined Hong Kong’s gangster genre with 3 mid-2000s classics

Anthony Wong in a still from Johnnie To’s 2006 movie Exiled. Photo: Tang Chak Shun

Anthony Wong (front) in a still from Exiled (2006). Photo: Magnolia Pictures

(From left) Lau Ching-wan, Andy On and Lam Ka-tung in a still from Mad Detective. Photo: SCMP

Kelly Lin and Simon Yam in a still from Sparrow. Photo: courtesy of Universe Films

How Bruce Lee hit the big time in 1972 and other Hong Kong cinema highlights that year

Bruce Lee in a still from Fist of Fury. The 1972 movie cemented the martial arts actor’s superstar status in the Hong Kong cinema industry. Photo: Criterion Collection

Bruce Lee in a still from The Big Boss (1971). Photo: Criterion Collection

Meng Fei (centre) in a still from The King of Boxers (1972).

Bruce Lee in a still from Fist of Fury (1972). Photo: Hong Kong Film Archive

(From left) Chan Koon-tai, Ti Lung and David Chiang in a still from Young People (1972), directed by Chang Cheh.

Tina Chin Fei (left) is pictured alongside Madame Ratna Sari Dewi Sukarno (centre) and Sir Run Run Shaw (back row) in 1970. Photo: SCMP

 Wang Chung (right) and Wang Kuang-yu in a still from Four Riders (1972).

(From left) Wang Chung, Ching Li and Yueh Hua in a still from The Web of Death (1976).

When Hong Kong romance movies got weird: Saviour of the Soul, Anna Magdalena and Isabella

Takeshi Kaneshiro (left) and Kelly Chen in a still from quirky Hong Kong romance Anna Magdalena (1998), directed by Yee Chung-man. 

Andy Lau in a still from Saviour of the Soul (1991).

Anita Mui in a still from Saviour of the Soul.

Takeshi Kaneshiro (left) and Kelly Chen in a still from Anna Magdalena.

Isabella Leong (left) and Chapman To in a still from Isabella (2006). Photo: Media Asia Films

Isabella Leong (left) and Chapman To in a still from Isabella. Photo: SCMP

Cecilia Cheung: Hong Kong actress, sex scandal victim and Chinese social media star

Cecilia Cheung at the 23rd Hong Kong Film Awards in 2004. The actress’ personal life garnered a lot of attention in the 2000s, with tabloids covering scandals and her high-profile romantic life. Photo: SCMP

Cheung in 1999. Photo: Oliver Tsang

Cheung speaks after receiving the award for best new performer, as veteran actors Liza Wang and Danny Lee look on, at the 19th Hong Kong Film Awards in 2000. Photo: Martin Chan

Cheung and Nicholas Tse in 2001. Photo: Reuters

Cheung in a still from Lost in Time (2003), for which she won best actress at the 23rd Hong Kong Film Awards. Photo: China Star Entertainment Group

Cheung and Tse at the 30th Hong Kong Film Awards in 2011, the year they filed for divorce. Photo: K. Y. Cheng

Cheung and Stephen Chow in a still from King of Comedy (1999). Her feature-film debut remains one of her most memorable roles. Photo: The Star Overseas

Cheung and her three sons. Photo: Weibo

Cheung in a photo she posted on her Weibo account in 2023. Photo: Weibo

Lifestyle

Entertainment

Culture

Film & TV

Classic Hong Kong cinema

Classic Hong Kong cinema: John Woo on action, violence, influences, growing up in poverty and working in Hollywood in 1997 interview

Legendary Hong Kong action film director John Woo in 1990. Photo: SCMP

Famous Hong Kong action film director John Woo talks about his life and work in a 1997 interview. Photo: SCMP

John Travolta (top) and Nicolas Cage in a still from Face/Off.

John Woo during an interview in 1996. Photo: SCMP

Tony Leung (left) and Chow Yun-fat in a still from Hard Boiled (1991), directed by Woo.

Woo (left) shakes hands with actor Tom Cruise at a photo call in Tsim Sha Tsui in 2000.

Danny Lee (left) and Chow Yun-fat in a still from The Killer, a 1989 film directed by John Woo.

Woo in his office in 1993. Photo: SCMP

Woo on the set of Red Cliff, with actor Takeshi Kaneshiro.

How Ringo Lam crime thriller Full Alert mixed realistic action on Hong Kong streets with premonition of 1997 handover

Lau Ching-wan in a still from Full Alert.

Lau Ching-wan hunting down an escaped robber in the mean streets (Bird Street) of Mong Kok in Ringo Lam’s 1997 movie Full Alert.

Ringo Lam, pictured in 1995. Photo: SCMP

Lau Ching-wan (left) and Francis Ng in a still from Full Alert.

Amanda Lee (front) in a still from Full Alert. Photo: Eureka Entertainment

Francis Ng in a still from Full Alert.

Ringo Lam in an interview with the Post in 1997. Photo: SCMP

Hong Kong’s first art-house film, Cecille Tong Shu-shuen’s The Arch, starring Crazy Rich Asians’ Lisa Lu Yan, was ahead of its time

Lisa Lu in a still from Cecille Tong Shu-shuen’s The Arch (1970), considered to be Hong Kong’s first art-house film.

Cecille Tong and members of her staff at Joss, the Chinese restaurant she runs on Sunset Boulevard, Los Angeles.

Lisa Lu, who starred in The Arch and The Empress Dowager, poses with her daughter Lucia Hwong in 1978. Photo: SCMP

Lisa Lu in a still from The Arch.

Promotional stills for Sup Sap Bup Dup (1975), directed by Tong.

A scene from the 1974 film China Behind, directed by Tong.

How Bruce Lee’s Way of the Dragon made Chuck Norris a star with their fight in Rome’s Colosseum, and what the film showed about Lee’s directing

Bruce Lee in a still from The Way of the Dragon (1972). Photo: Criterion Collection

Bruce Lee in a still from The Way of the Dragon (1972), which he starred in and directed. Photo: Criterion Collection

Bruce Lee as Ah Lung (front) and Nora Miao as Chen Ching Hua in a still from The Way of the Dragon. Photo: Golden Harvest

Chuck Norris and Bruce Lee in a still from The Way of the Dragon. Photo: LCSD

Bruce Lee and Chuck Norris in a still from The Way of the Dragon. Photo: Criterion Collection

Maggie Cheung in her own words, on Wong Kar-wai and In the Mood for Love, marrying Olivier Assayas and being an actress, not just a film star

Interview with award-winning actress Maggie Cheung Man-yuk at Grand Hyatt Hotel.

Maggie Cheung at an interview with the Post in 2001. Photo: SCMP.

Maggie Cheung (left) and Cherie Chung in a still from Prince Charming (1984).

Maggie Cheung (left) and Andy Lau in a still from As Tears Go By (1988).

Maggie Cheung in a still from the 1996 film Irma Vep.

Maggie Cheung (left) and Tony Leung in a still from In the Mood for Love (2000).

Peter Chan’s early films, featuring the two Tony Leungs and Maggie Cheung, were a breath of fresh air in Hong Kong

Anita Yuen (left) and Leslie Cheung in a still from He’s a Woman, She’s a Man (1994).

A promotional image of He Ain’t Heavy, He’s My Father (1993), starring Tony Leung Chiu-wai (first from right) and Tony Leung Ka-fai (second from right). Peter Chan Ho-sun’s early films “have an international, almost placeless feel” despite their local issues and references.

Film director Peter Chan Ho-sun in 1995. Photo: SCMP

Eric Tsang (left) and Leslie Cheung in a still from He’s a Woman, She’s a Man, the 1994 film directed by Peter Chan.

Fallen Angels: Wong Kar-wai on casting Leon Lai, Michele Reis, Charlie Yeung and Karen Mok against type in 1995 film

Michele Reis and Takeshi Kaneshiro in a still from Wong Kar-wai’s Fallen Angels. Photo: Block 2 Pictures and Jet Tone Contents

Leon Lai in a still from Wong Kar-wai’s Fallen Angels, the 1995 film that was almost part of Chungking Express.

Wong Kar-wai in front of a promotional poster for Fallen Angels in 1995. Photo: SCMP

Takeshi Kaneshiro in a still from Fallen Angels.

Leon Lai (left) and Michele Reis in a still from Fallen Angels.

Michele Reis in a still from Fallen Angels.

(Clockwise from top left) Charlie Yeung, Michele Reis, Leon Lai and Takeshi Kaneshiro in a still from Fallen Angels.

Leon Lai plays a hitman in a still from Fallen Angels.

How Running Out of Time, starring Andy Lau and Lau Ching-wan, helped shape the ‘Johnnie To Cinematic Universe’

Andy Lau in a still from Johnnie To’s Running Out of Time (1999).

Andy Lau, pictured with Helena Law at the 19th Hong Kong Film Awards in 2000, where he was named best actor for his role in Running Out of Time. Photo: SCMP

A still from The Mission (1999).

Lau Ching-wan (left) and Andy Lau in a still from Running Out of Time (1999).

Johnnie To in his Kwun Tong office in 1999. Photo: SCMP

Ekin Cheng in a still from Running Out of Time 2.

Likened to Hollywood hit Love Story, this film beat Jackie Chan, Jet Li at the Hong Kong box office in 1993

Anita Yuen (left) and Lau Ching-wan in a still from C’est La Vie, Mon Cheri.

Anita Yuen (left) and Lau Ching-wan in a still from C’est la Vie, Mon Cheri. It beat films starring Jackie Chan and Jet Li to become a box-office hit in 1993. Photo: courtesy of LCSD 

Film director Derek Yee Tung-sing giving a thank-you speech after being awarded the best director prize at the 13th Hong Kong Film Awards for his film, “C’est La Vie, Mon Cheri”. Photo: SCMP

Lau Ching-wan (left) and Anita Yuen in a still from C’est La Vie, Mon Cheri.

Winners at the 13th Hong Kong Film Awards pose for a group picture. From left in the first row are best supporting actor Paul Chun Pui, best actor Anthony Wong Chau-sang, best actress Anita Yuen Wing-yee, best supporting actress Fung Bo-bo and best director Derek Yee Tung-shing. With the exception of Wong, all the others worked on C’est La Vie, Mon Cheri. Photo: SCMP

Brigitte Lin’s first gender-neutral role, Sally Yeh’s butch Beijing Opera performer make Tsui Hark’s 1986 period comedy Peking Opera Blues highly enjoyable

Peking Opera Blues starring Brigitte Lin remains an enjoyable tale of espionage, Chinese opera and gender bending. Mark Cheng (left) and Brigitte Lin in a still from Peking Opera Blues. Photo: Peking Opera Blues

Playwright Raymond To Kwok-wai, pictured in 1994, was the screenwriter behind both Shanghai Blues and Peking Opera Blues. Photo: SCMP

Sally Yeh (left) in a still from Shanghai Blues, which was released two years before Peking Opera Blues. Photo: Hong Kong Film Archive

(From left) Brigitte Lin, Cherie Chung and Sally Yeh in a still from Peking Opera Blues. Photo: Peking Opera Blues

Tsui Hark, posing beside the poster for another of his movies, A Better Tomorrow III, in 1989. Photo: SCMP

Brigitte Lin (right) in a still from Peking Opera Blues. Photo: Peking Opera Blues

A change from Jackie Chan and Jet Li – Beast Cops’ Gordon Chan on how directing the Hong Kong gangs vs police film was not like his previous work

A still from Beast Cops. Photo: Handout

(From left) Sam Lee, Anthony Wong and Michael Wong in a still from Beast Cops, a Mong Kok-set gangs vs police action drama directed by Gordon Chan.

Best actress Sandra Ng Kwan-yu (left) and best actor Anthony Wong Chau-sang with their awards at the 18th annual Hong Kong Film Awards in 1999. Ng starred in Portland Street Blues and Wong in Beast Cops. Photo: SCMP

Jet Li in a still from Fist of Legend, the 1994 film directed by Gordon Chan.

Michael Wong (front) in a still from Beast Cops.

Directors Gordon Chan (left) and Dante Lam, pictured in 2006. Photo: SCMP

(From left) Anthony Wong, Kathy Chow and Michael Wong in a still from Beast Cops.

Anthony Wong in a still from Beast Cops.

Romance meets ghost story in Hong Kong movie masterpiece Rouge, starring Anita Mui and Leslie Cheung and directed by Stanley Kwan

Anita Mui and Leslie Cheung in a still from Rouge.

Leslie Cheung and Anita in a still from Rouge (1988), directed by Stanley Kwan, in which she plays a 1930s courtesan who returns 50 years later as a ghost seeking her lover, played by Cheung.

Anita Mui (centre) alongside Alex Man (left) and Elaine Chu in a still from Rouge.

Stanley Kwan in an interview with the Post in 1988. Photo: SCMP.

Anita Mui and Leslie Cheung in Rouge.

Made in Hong Kong, Fruit Chan’s take on grim reality of 1997 for many in the city, and how the groundbreaking independent film was conceived

Sam Lee in a still from Made in Hong Kong. Photo: Focus Films Limited

Sam Lee in a still from Made in Hong Kong, Fruit Chan’s 1997 film about the grim reality of life for many people in Hong Kong. Photo: Golden Scene

(From left) Wenders Li, Sam Lee and Neiky Yim in a still from Made in Hong Kong.

Fruit Chan (centre), winner of Best Director and Best Picture at the 3rd Golden Bauhinia Awards Ceremony, alongside actors Neiky Yim (left) and Sam Lee, in 1998. Photo: SCMP

Sam Lee and Neiky Yim in a still from Made in Hong Kong. Photo: Golden Scene

Sam Lee and Neiky Yim in Made in Hong Kong. Photo: Nicetop Independent

Why Boat People, starring Andy Lau and George Lam, Ann Hui’s hit film about post-war Vietnam, displeased the Chinese and French authorities

Andy Lau as To Minh in a still from Boat People (1982). Ann Hui intended the film to tell a human story that explained why refugees were fleeing Vietnam. Hong Kong film-goers saw it as an allegory of the city’s future under Chinese rule. Photo: Bluebird Film Company

George Lam (left) and Season Ma in a still from Boat People. Photo: Bluebird Film Company

Ann Hui won the Golden Lion for Lifetime Achievement at the 77th Venice Film Festival in 2020. Photo: Reuters

A still from Boat People showing Vietnamese military personnel in the streets.

Andy Lau as To Minh (left) and George Lam as Akutagawa in a still from Boat People.

Andy Lau as To Minh in a still from Boat People.

What they said about In the Mood For Love: director Wong Kar-wai and stars Tony Leung and Maggie Cheung on filming the romantic drama

Maggie Cheung in a still from In The Mood For Love. Photo: Jet Tone Films

Maggie Cheung Man-yuk and Tony Leung Chiu-wai in a still from In the Mood for Love, directed by Wong Kar-wai. Photo: Jet Tone Films

Tony Leung (left), Maggie Cheung and director Wong Kar-wai during the promotion for In the Mood For Love in Cannes, in 2000. Photo: AFP/Jack Guez

Maggie Cheung in a still from In the Mood For Love. Photo: Jet Tone Films

Tony Leung in a still from In The Mood For Love. Photo: Jet Tone Films

Tony Leung (left) and Zhang Ziyi in a still from 2046. Photo: Block 2 Pictures and Jet Tone Contents

Maggie Cheung and Tony Leung in a still from In the Mood For Love. Photo: Jet Tone Films

Jackie Chan focused on ‘real kung fu’ in Drunken Master II in reaction to shoddy ‘wire fu’ martial arts films of the early 90s

Jackie Chan in a still from Drunken Master II (1994). The movie focused heavily on real kung fu by real martial artists, as an antidote to the slew of shoddy ‘wire fu’ movies in the early 1990s.

Jackie Chan at an interview with the Post in 1994. Photo: SCMP

Jackie Chan in a still from Drunken Master (1978). Photo: Golden Harvest

Jackie Chan (left) on the set of Drunken Master II.

Jackie Chan (right) and Felix Wong in a still from Drunken Master II (1994).

Stephen Chow’s Shaolin Soccer and Kung Fu Hustle were not the films that made the Hong Kong comedian famous – so which ones did?

Stephen Chow as Trinket in a still from the film Royal Tramp.

Stephen Chow (left) and Ng Man-tat in a still from Royal Tramp. Critics called Chow 
 “the finest Hong Kong comedian of his generation” and “Hong Kong’s hottest actor” of the 1990s.

Stephen Chow at an interview with the Post in 1989. Photo: SCMP

Stephen Chow at a film shoot in 1989. Photo: SCMP

Ng Man-tat (left) and Stephen Chow in a still from All for the Winner.

Stephen Chow (left) and Anita Yuen in a still from From Beijing with Love.

Gong Li (left) and Stephen Chow pose for photographers to promote The Flirting Scholar in 1993. Photo: SCMP

Stephen Chow in a still from Shaolin Soccer.

‘I am not Jackie Chan or Chow Yun-fat’: Hong Kong actor Lau Ching-wan on why Hollywood doesn’t need him, bad guy roles, and The Godfather

Lau Ching-wan during an interview with the Post in 1996. Photo: SCMP

Lau Ching-wan during an interview with the Post in 1996. He reveals why he measures his English comprehension against The Godfather and why Hollywood does not need him. Photo: SCMP.

Leon Lai (left) and Lau Ching-wan in a still from A Hero Never Dies (1998).

Lau Ching-wan in a still from Full Alert (1997).

Lau Ching-wan (left) and Anita Yuen in a still from C’est La Vie, Mon Cheri (1993).

Lau Ching-wan in a still from Too Many Ways to be Number One.

Lau Ching-wan (third from left) in a still from Big Bullet (1996), directed by Benny Chan.

Lau Ching-wan in a still from Lifeline (1997).

Lau Ching-wan and his wife, Amy Kwok, pose for photographers on the red carpet of the 32nd Hong Kong Film Awards at the Hong Kong Cultural Centre in Tsim Sha Tsui in 2013. Photo: SCMP

What they said about The Killer: director John Woo and stars Chow Yun-fat and Sally Yeh on shooting the classic Hong Kong action movie

Chow Yun-fat and Danny Lee in a still from The Killer (1989), directed by John Woo.

Chow Yun-fat (right) as the hitman Ah Jong and Danny Lee as Detective Li Ying in a still from The Killer (1989), directed by John Woo.

Chow Yun-fat’s mainland Chinese films, from Confucius to Let the Bullets Fly

.css-1c6uqr6{color:inherit;font-weight:inherit;font-size:inherit;font-family:inherit;line-height:inherit;overflow-wrap:break-word;}We look at five films that Hong Kong actor Chow Yun-fat made in mainland China, with roles including a sleazy con man and Confucius

The Postmodern Life of my Aunt (2006)

We look at five films that Hong Kong actor Chow Yun-fat made in mainland China, with roles including a sleazy con man and Confucius