Jeffrey and Glenda are two lovers about to embark on a three-day cruise to nowhere. Their plan is to be married on board by the ship's captain. As Glenda is packing to leave, she receives a threatening phone call from her obsessed, former lover Leo. Glenda confronts Leo and tells him that it's over. Leo, a high-powered attorney calls a hit man to have Jeffrey eliminated. Glenda knocks Leo over the head before he can give the hit man a name. Leo is dead. Glenda sneaks back into her apartment, goes off on the cruise with Jeffrey and pretends that all is swell. Leo's partner, Stephen Bessemer, suspects Glenda and follows her to the ship. Bessemer stages a mock trial aboard the ship and cleverly draws a confession from Glenda. Jeffrey, also an attorney, represents Glenda when she is arrested upon arriving on shore. A skeptical district attorney, and the fact that Jeffrey horsewhips the star witness (the hit man), combine to get Glenda completely off the hook.

When a brilliant plant geneticist is framed for her fiance's murder, she must go on the run, relying on her intelligence and physical prowess to expose the truth and clear her name before time runs out

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A combination of two made-for-television short stories, the first entitled THE ACCUSED and the second THE DOOR. The latter starred Ingeborg Wells, Peter Reynolds and Irene Handl, none of whom is mentioned in the cast list here.

In the London of the 1910s, a self-effacing, decent man of fifty confronts what appears to be the perfect opportunity to rid himself of his unloved, nagging wife and be free for a blissful life with his mistress.

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Cyrus Braidwood has a secret. His daughter Helen isn't actually his daughter--her father is a murderer, and Braidwood has been raising her as his own because he has her father's written confession hidden. One day her father manages to get ahold of the confession. Helen shows up at his apartment looking for it, which culminates in her and a young man she meets there being taken prisoner by a criminal gang.

The wedding turns into a crime scene. The wedding is like the apotheosis of meaninglessness, a metaphor for society. The story of the generation of the eighties with a tragic ending. The film uses the true facts of the criminal case.

The sophistication of 1950s Hong Kong cinema is vividly illustrated in this film of limited budget and resources. Cantonese opera star Sun Ma Si-tsang plays a country boy who looks exactly like Sun Ma and is asked by a rich girl to impersonate the star, to help her stage an opera. The self-reflexive humour generated by the absurd situation not only provides delicious parody of celebrity culture but also comments subtly on class inequality and the perils of urbanisation. Sun Ma, who also appears as himself in a stage performance, is complemented beautifully by the brilliant comedian Yee Chau-shui as his sidekick and Hung Sin Nui, another opera superstar, as the spoiled and precocious rich girl.