Everyphone Everywhere’s cross-cutting narrative brings together a large set of players within the mobile-communications theme. First there’s designer Chung Chit (Endy Chow), who rushes to catch a ferry and leaves his phone at home. There’s no time to retrieve the device, so he tries to soldier on without it – and the results are eye-opening. Eventually, he’ll need to call his wife Ivy (Cecilia Choi) to awkwardly help him out. Meanwhile, soon-to-emigrate middle manager Raymond Ho (Peter Chan) starts his day with his WhatsApp account hacked and frozen. Broken contacts aside, his big fear is exposure of shady workplace practices and possible blackmail or arrest. Then there’s Ana (Rosa Maria Velasco), an old classmate of theirs who’s waiting in a private kitchen and getting odd messages. And all the time a young lady, Yanki (Amy Tang), and a nerdy computer wiz (Henick Chou) are busy using messaging apps for sleazy purposes.

After his success as a martial arts film star, WONG Joi made a fatal decision to write and direct his debut feature Golden Sword Woman, with his beloved wife Mei-fung starring as the eponymous heroine. Years later, a senile, demented WONG, who keeps blabbering about his ‘groundbreaking’ debut, is being taken care of by his grudging son Ho. The film parodies the visual style of the Shaw Brothers martial arts films to tell the story of a contemporary father-and-son conflict and reconciliation. Golden Sword Woman travels in time and between both sides of the silver screen, between the romantic world of swordsmen and the unpromising, secular family life.

Two high school students from very different backgrounds participate in a musical with mentally disabled children, which eventually leads to the realisation of their dreams and aspirations.

When her partner Pat unexpectedly dies, Angie is left to worry about the flat in which the couple lived together for over 30 years. Supported by her chosen family, Angie begins a later-life journey into emancipation.