‘Love & Suicide,’ A Painful Depiction of Past Catching Up to Choke the Present

 

Love & Suicide film poster. 

“Being in Cuba has allowed me to live in a society that is not at war with itself. There is a sense of community. It’s a given in Cuba that, if you fall down, the person next to you is going to help you get up.”—Assata Shakur

Sometimes film has the ability to remind a person not to deny the authenticity of their truest selves, their purposes among life’s heaviest burdens.

Lisa France’s history making Love & Suicide left me strangled by the threads of challenging inner turmoils partially steeped by an upbringing damaged by parental absence. I remember once wanting to flee America and drown in Ghana’s people, disappear into a country no one knew me. Furthermore, there are family members drifting away, permanently living off grid. Thus, when the New Yorker character of Puerto Rican and Cuban heritage Tomas (calling himself Tom) seeks a real death in Cuba, the place where his absentee father was born. The fictional parallels spoke an alarmingly unexpected kinship to my reality. 

Tomas (Kamar de los Reyes) is in a dilemma. DP: Demian Lichtenstein. 

Path of self-destruction. DP: Demian Lichtenstein. 

An isolated Tomas descends into disparity, an unkempt man drinking and smoking cigarettes heavily, popping pills, and wielding a gun to his temple, wandering without purpose against Havana’s impoverished landscape, leaving desperate, sporadic voicemails to the unknown caller on the receiving end. The dreary, depressing scenes are extremely sensitive content to those conflicted by the very thoughts Tomas struggles to come to terms with.

Yet, two unconventional strangers pull Tomas out of his misery, revealing a whole beautiful, honest side of him— Alberto, the man with a heart of a gold and the other central figure and Nina, a Los Angeles woman wandering about in a culture that is not her own. 

Tomas is a grouchy grouch to sweet, sensible Alberto who demonstrates diligent patience with his passenger. DP: Demian Lichtenstein.  

The first American film made in Cuba post Fidel Castro’s revolution and without permission by both the United States and Cuban governments, Love & Suicide also symbolizes the film industry in a nutshell, one of many not listed on Letterboxd because so few no of existence, or think it of worthwhile note. It’s as though for all its effortless craft in storytelling— screenplay, acting, and direction— that it deserves burial beneath millions of other works, that it’s not valid enough to be archived, operating surely in a Tomas circumstance. 

Tomas is in a New York State of mind. DP: Demian Lichtenstein. 

Lisa Prince directed a timeless city that looked caught up in the past, a place that seemed outdated yet held a fierce vitality due to its diligent community that thrives in more heartfelt ways. It’s low budget and looks it. At the same time, this grainy abstract piece is effective, poignant, and sentimental. The late Kamar de los Reyes portrayed such a commendable, capable lead, an incredible actor whom I only saw for several years, a few minutes per day, playing a supporting role in the long gone One Life to Live— once my favorite soap opera. As Tomas, de los Reyes provides a strong, multifaceted range into the complexities of a character desiring escape despite having success— achieving the American dream with blood tied to two specific realms tainted by the very country. Luis Moro— producer and co-writer of the script— stars as the humble cab driver Alberto, the beneficial aid who deeply loves his heritage, giving respect, decency, and kindness to Tomas.

Alberto receives a thoughtful parting gift. DP: Demian Lichtenstein. 

The Capital Building holds similarity to the U. S. version yet you cannot help see it’s against the ravaged circumstances of the people. DP: Demian Lichtenstein. 

After Love & Suicide ended, Park Chan-wook’s Decision to Leave came to mind mainly because of the similar triggered emotions. It’s a different cinematic picture and whole other genre, but the deeper story dissects a meaningful predicament for the foreigner overwhelmed by complicated moral sensibilities. The tragic Seo-rae has ancestral ties to Korea, eventually chooses an explicit way out of the messes she causes. Although we know how her story concludes, Tomas leaves us on an ambiguous note, confessing to Alberto rather significant truths that seem both heartbreaking, reflective, and optimistic. 

Thus, Love & Suicide encourages profound reflection on what flows in our blood, the undeniable traits we set to diminish or forget entirely. Sometimes, many can mirror Tomas’s outlook, wanting to drown out certain truths impacted by shame or an unnamed grief. Family and friends can go astray, losing themselves to the jarring temptations that loneliness brings. The harder parts of life’s journey deals with the consequences, those fragile feelings of abandonment, of not being properly loved— especially detrimental if by a parent. Yet, an effervescent light can arise in the darkest hours, often by compassionate strangers who would rather see golden blessings than people haunted by shadows. 

Love & Suicide is available here on YouTube. 

Regarding Janine and Gregory on ‘Abbott Elementary,’ A Period Meant An Ellipsis

 

The steamiest sequence of events ever witnessed on a TV sitcom.

“Last night was all a dream,” they say. 

In a season of breakups— Melissa and Gary, Jacob and Zach, and Mr. Morton and his mysterious wife— we needed light at the end of the tunnel, something to sink our teeth into before the summer interlude. 

And Abbott Elementary more than provided.

Some Janine Teagues and Gregory Eddie lovers held their breaths throughout Party— the season three finale— waiting for the inevitable “will they” slow burn to build into full blown ignition. Despite Gregory putting a period on them in the February premiere, the man continued giving Janine those yearning, come hither looks that more symbolized “to be continued” rather than “putting a stopper on things.” 

Thus, that period was perhaps a series of dots otherwise known as an ellipsis— an intentional omission. Gregory tried oppressing feelings that would never go away even when the object of his affection worked elsewhere. 

“Did you smoke last night? It didn’t seem like you did,” Gregory (Tyler James Williams) to Janine (Quinta Brunson) in Smoking, written by Jordan Temple, directed by Randall Einhorn. DP: Michael J. Pepin.

First, a recap of the leading events that transpired throughout the fourteen episode season. When foolish Gregory shot Janine down and she took the district fellowship, he believed he was the reason. They cleared the air in his classroom and the tension was eased— or so it seemed. Meanwhile, Janine moved her hair part in the center, sported impeccable makeup, and switched up her wardrobe, glowing up beautifully in smart suit sets, form fitting dresses, and glamorous heels. 

Still, Janine continued popping up at Abbott and shared minute moments with her infatuation and former work family. In Smoking, Gregory (and everyone else) was shocked to learn Janine smoked weed every night, in Willard J. Abbott, they burned the midnight oil in her office together (alongside original wingman/Teddie shipper Jacob), in Librarian, they bonded over the beneficial program with Gregory advising Janine on putting her foot down with her beloved mentor Barbara. Throughout these short yet memorable segments, this undeniable crackling spilled between their kindred friendship, proving that even if platonic, Janine and Gregory crafted a natural, chemistry-fueled rapport.

Janine and Gregory are left alone, laughing during research mode in Willard R. Abbott, written by Ava Coleman (the writer not the character) and directed by Matt Sohn. DP: Michael J. Pepin. 

Janine and Gregory attempt to adjust the vintage picture of Black teachers at Abbott until a hilarious Mr. Johnson puts a stop to them taking over his job. DP: Michael J. Pepin. 

“Keep reading,” Gregory says to Janine on Barbara’s review of the new program initiative in Librarian, written by Morgan Murphy and directed by Karan Soni. DP: Michael J. Pepin.
  

Janine and Gregory proved to be a good professional team despite it being unprofessional to show up to a student’s house in Alex, written by Kate Peterman and directed by Claire Scanlon. DP: Michael J. Pepin. 

Although it looked as though Janine would permanently stay in her new gig— the two dollar raise and smile-happy co-workers hyping her ideas no matter how wild or impossible would tempt anyone— a visit to absentee student’s house in Alex with Gregory reconfirmed her second grade teacher spirit. Abbott was Janine’s special place, her students were her treasures. So, in the end, she could not forsake them, proving her selflessness— a commendable trait to have in her profession. 

A horribly unhinged Gregory plays twenty cringy questions with Janine, Manny, Erika, and Tariq whilst drinking beer with both hands in Double Date, written by Garrett Werner and directed by Razan Ghalayini. DP: Michael J. Pepin. 

A gorgeous Janine is unphased by Gregory’s obvious jealousy. DP: Michael J. Pepin. 

In Ava 2 Ava Fest, Gregory gave Janine a plant that comes to full bloom in the finale— but before Party, the predecessor Smith Playgound granted precious Janine and Gregory moments galore in order for us to forget Gregory’s extreme awkwardness (that gave us secondhand embarrassment) in Double Date. 

Janine sits next to Gregory for the first time on a school bus field trip in Smith Playground, written by Riley Duffurena and directed by Richie Edelson. DP: Michael J. Pepin. 

They share their favorite colors while swinging— Gregory’s is green and Janine’s is blue. In an earlier adorable scene, Janine pushes Gregory. DP: Michael J. Pepin. 

While two schools fight over a slide turn, Janine and Gregory secretly find some joy of their own— via that very slide. DP: Michael J. Pepin. 

At last, in Party, Cupid’s bow-tipped dominos are lined up, ready to align. Janine plans every inch of her cute, three-hundred square feet apartment to a T aiming for an epic end-of-the-school-year celebration, compartmentalizing activities for varying personalities, accounting for the socially awkward. Even Zach—Jacob’s ex and Mr. Morton are invited. Naturally, Ava has to be paid prior to attend such an occasion. Gregory arrives, complimenting the maxi dress wearing beauty and the eye games begin. 

Even Mr. Johnson gives Janine solid advice— “regrets are harder to live with than consequences.”

Among stringed lights and a plush, hot pink bedroom, Gregory and Janine congratulate each other’s growth while sitting on her bed in Party, written by Chad Morton and Rebekka Pesquiela and directed by Randall Einhorn. DP: Michael J. Pepin. 

Janine and Gregory’s final season three interaction deserves a delicious breakdown— it was just that good. 

On the street corner, Erika and Jacob hype up Gregory, the cowardly lion too far removed from Oz aka Janine’s apartment. Backed by their encouragement, considerably pleased by the fact that Janine has turned Manny down, Gregory heads back to Janine’s. Janine mopes around, cleaning up, admitting to the camera crew that she likes Gregory, that she had been planning all night to do so. A familiar knock— Gregory’s classroom knock— sounds at Janine’s door. When she answers it, he stands on the stoop, saying he fixed her light— a subtle nod to season one’s Light Bulb. He reenters her spot, his walk determined, purposeful, the camera angles shift unexpectedly. 

Janine with the plant that Gregory gave her. She brought it from the classroom to her home— and Gregory would soon be joining the plant as well. Perfect setup. DP: Michael J. Pepin. 

The lighting was absolute perfection the entire episode, setting the right tones at the right moments. This here embodied romance. DP: Michael J. Pepin. 

At this point, no words are necessary. 

Gregory’s lips swoop down on an anticipatory Janine’s, letting us cry anew at that height difference. The kiss begins a hot, heavy make out session speaking sensuous volumes. These two beautiful Black nerds had been wanting to do that forever— sober and unafraid. The scene grows juicier as mid-kissing, Gregory one-handedly shuts Janine’s door, hoping to give them privacy to explore this newer, intimate territory sans an audience. They resume to finish what has started—swoon-worthy smooches. Until the window blinds are tugged down by a sly Gregory. He gives a distinctive “do not disturb this groove” look, implying that this is the period he really intended— a period of one on one with Janine. 

Amen and cheers to that. 

During a summer where everyone will be talking about Bridgerton season three, the rest of us will still be wrapping our heads and hearts around the shockingly scandalous time that Gregory stole the air out of Janine’s lungs, a poor girl already prone to breathing hard. 

Viscountess Kate & Viscount Anthony Moments From Bridgerton Season Three, Part I (Spoiler Heavy)

Kate smelling flowers of Bridgerton writer BS. DP: Diana Olifirova. 

Bridgerton season three, part one has finally dropped after a hiatus of over two years. Unfortunately, the most alarming detail is that the popular pairing of Anthony and Kathani Sharma-Bridgerton and their pet Newton have an extremely shortened presence despite Duchess Daphne Bridgerton-Hastings (absent here) having five solo appearances during their season. 

Thus, the unequal attention to Kanthony’s romance continues to reveal itself in nonsensical ways. 

Kate (Simone Ashley) and Anthony (Jonathan Bailey) are ready for Francesca’s presentation to the Queen in Out of the Shadows written by new showrunner Jess Brownell and directed by Tricia Brock. DP: Diana Olifirova.

It was always a problem that the writers underdeveloped Kate, giving her no flashbacks, no in-depth backstory, much less a satisfying relationship arc with both younger sister Edwina and her stepmother Mary. 

Bridgerton’s underwhelming, lackluster third season does little to mend those errors. 

Kate and Anthony appear only in the first episode Out of the Shadows— criminal. After Violet expresses that she will find a dowager house soon, Kate has the idea for her and Anthony to extend their honeymoon— which at the end of season two was a six-month tenure. We have no reflections regarding that honeymoon either, let alone a glimpse into what their wedding had been. This lazy plot device removes Kate and Anthony onscreen at an attempt to get their fans to lean into other less satisfactory pairings— pairings that don’t have that fiery charisma carried by talented actors whose very body language has the same momentum as any dialogue the team has neglected to pen. 

Violet (Ruth Gemmell) and Kate (Simone Ashley) have a lovely conversation in the garden. DP: Diana Olifirova. 

Newton (Austen) has a cameo scene, but does not interact with his mom and dad. DP: Diana Olifirova.  

At least we see that married life did not slow down love’s momentum. 

No longer traumatized older siblings taking on parental responsible ties too early and putting societal duties first, Anthony and Kate are saturated in pure bliss, constantly holding hands and stealing alone time whenever possible, crying tears of pleasure as opposed to tears of pain and sorrow. Their intimate bond has grown and strengthened, a testament to every obstacle thrown in their direction. Although the limited writing still does not offer them deeper, lengthier conversations with each other, their utmost devotion—showing a unified grace— is beautifully depicted primarily due to Simone Ashley and Jonathan’s Bailey’s commitment to portraying believable characters. 

As stated in a previous essay, the happily ever after shouldn’t necessarily end at marriage. There are plentiful scenarios to create for Kanthony— beyond pregnancy too. 

Viscount duties? Where? Anthony doting on his irresistible wife because nothing else matters more to him. DP: Diana Olifirova. 

As Bridgerton continues to suffer from too many side plots— as it happened in season two— and lessens the amount centered on the titled family, the series crumbles, especially when muting one of the best pairings in a streaming series. There should have been more interactions between Kate and her new world— a season three highlight included her talk with Violet. It was nice seeing her become less an outsider and more a vital part, as the pall mall game had demonstrated that she belonged. Kate and Eloise scenes were missed, plus she could have been a friend to Penelope. Kate deserves more Bechdel in general— where is her family anyway? Where do she and Edwina and Mary stand currently? The writers act as though it’s difficult to give her more than two lines. 

Moreover, Anthony’s scenes with his siblings are another joy— Anthony/Gregory, Anthony/Benedict, and Anthony/Hyacinth are some of the most poignant familial bonds in the series. He has been extremely instrumental in the first two seasons, decreasing his role was not the wisest decision. 

Kanthony’s sole dance sequence— featuring the kiss heard from around the world— was exquisitely done! DP: Diana Olifirova. 

Kate continues to have the most beautiful intimacy apparel. DP: Diana Olifirova.  

Kate’s study scene was beautifully shot. The first image alone is perfect for a romance novel cover. DP: Diana Olifirova.  

Overall, the eight minutes of Kate and Anthony were simply not enough. How the writers, producers, and the editors greenlit this catastrophic treatment to devoted fans is beyond the pale! The dishonest promotion— having them everywhere— sold an impressionable dream that wasn’t even fully realized. Why would anyone suggest, “oh, let’s waste this rare chemistry and see if it can be mimicked by our stacked cast?” If you have an ensemble, you have to highlight its strongest components— not make the colossal mistake of purposely omitting them to center weaker legs. As Bridgerton pairings experience promotion from season one to Queen Charlotte to the latest coupled actors, we will never forget that eventual movie star Simone Ashley and future Emmy nominee Jonathan Bailey (watch Fellow Travelers!) were never granted similar photo shoot campaigns. 

The behind-the-scenes travesties show up onscreen and it’s just not a pretty sight going into next month’s part two. 

The First Dayton Black Women’s Film Festival

 

Gorgeous photo backdrop. 

On Thursday, May 16th, the inaugural Dayton Black Women’s Film Festival hailed at the Neon Movies in downtown Dayton was an astounding, sold out success. It began with a special mixer sponsored by the multidisciplinary community collective Scripted In Black and an awesome Columbus based DJ spun killer tunes together, setting the vibe off right. 

DBWFF on The Neon’s marquee.

Patio drinks included a bubbly cherry lemonade beverage celebrating Aisha Ford’s short film. 

Official program.

DBWFF showcased fourteen incredible short films— Kierra Payne and Tiara West’s brilliant relationship breakdown Red Flags, Tiara West’s inspiring romantic Melanie & Kyle, Amira Jackson’s horror Cycle of Women (poetically based on the tragic genocide of Namibia), Allie Morgan’s poignant Sisters, Mel Andre’s experimental doc Pride Debut, and Ashley Tweety Mason’s hilarious yet timeless Revenge of the Relaxer. Che Marcheti’s Pressure and Pamela Peregrino’s Rough Tide delivered prominent looks at Black women in animation— a place that is still generally lacking Black women’s artful voices. Three Wright State University students (DBWFF team members Angelina Mitchell, Jazz Jefferson, and Morgan Johnson) showed their works as well, letting the Gem City know that we have great, up and coming talent on the horizon. 

Filmmaker Aisha Ford with the first ever Bloom Award. (photo provided by Angelina Mitchell).

The Bloom Award was created by artist Elizabeth Diggs. (photo provided by Angelina Mitchell).

Introduced by actress Sumayah Chappelle, DBWFF closed on the Bloom Award presentation of celebrated filmmaker Aisha Ford. Her three thought-provoking pieces highlighted Black girlhood in a powerful, mesmerizing attentiveness— Royal, Be a Fish, and Cherry Lemonade. 

DBWFF ends with Angelina’s whole family presenting her with gorgeous flowers and an Oscar. 

DBWFF, a beautiful and crucial celebration of Black women filmmakers, lived up to its promise and has the potential to truly make a difference in the community. It wouldn’t have been possible without the vision of creator/curator/filmmaker Angelina Mitchell (who operates with the similar passion of BlackStar Film Festival founder Maori Karmael Holmes). Her dedication to this considerably large project has been inspiring and deserving of generous praise. To end the festival on that note was so utterly moving, so profound. The next festivals will be a tough act to follow. 

The sisterhood DBWFF team— Janyce Denise Glasper, Howie Hope, DBWFF creator/curator Angelina Mitchell, Kathryn Mobley, Penda James, Morgan Johnson, and Selena Burks-Rentschler. (photo provided by Angelina Mitchell).

Plus, we have Neon manager Jonathan McNeal to thank for letting DBWFF use the large theater, Diana Cordero for helping concoct the delicious signature cocktails, and Ian Bonnett for creating lovely buttons. Sponsors included Haya Healing, Film Dayton, Mitosis, and other kindhearted supporters. 

The first DBWFF— warm, special, fun, and memorable— proved that there’s a huge desire to see the authentic films Black and non-binary women make in all forms— narrative, animation, documentary, etc. The overwhelming need for behind-the-scenes representation is as imperative as what’s happening onscreen. May this festival be the promotes a change in impossible limitations— stop the exclusion. 

Now is the time to honor the validity of Black women filmmakers. 

Femfilmrogue Tenth Anniversary

 

A milestone day! 

Ten years ago today, femfilmrogue was born, launched by me— a lifelong soap opera lover, cinephile, and avid TV/web series aficionado. This space bridges together individual components, making this blog filled with unexpected moments— a random film review, an essay regarding Black and brown representation, a Saturday soap opera flashback, a Happy Birthday Spotlight iconic actress or filmmaker, or a list article. The most viewed post to date happens to be from the Best TV Couples series of 2018— Maxine Shaw and Kyle Barker. 

My journey to writing about this content began as a staff writer on the iconic feminist site B*tch Fl*cks thanks to my Artist As Writer undergraduate professor, Amber Leab, BF cofounder (alongside Stephanie Rogers). During my time in Philadelphia,  I volunteered at film festivals— Athena Film Festival at Barnard College in New York, Philadelphia Film Festival, and Blackstar Film Festival before becoming part of the screening committees for Dayton Out Here Film Festival (formerly the Dayton LGBT Film Festival) and the inaugural Dayton Black Women’s Film Festival. During these impressionable events, I saw astounding representation onscreen and behind-the-scenes— eye opening experiences encouraging my commitment to valuing the rich complexities of films made by underrepresented voices, mainly Black and women filmmakers. 

A film poster quote was a dream come true. 

Naturally, my first post— a review of Michael Medeiros’s eccentric comedy, Tiger Lily Road— came from being a fan of three-time Daytime Emmys winner Tom Pelphrey off the deceased soap opera Guiding Light. Other soap opera related posts brought this little blog exceptional reception, especially essays regarding the severe lack of investment in stories centering Black and brown characters. There must be around five or so highlighting Bryton James and Mishael Morgan’s characters on Young and the Restless alone— a soap opera that I cannot quit completely. It’s not the same since Morgan’s departure. Furthermore, I look forward to covering the new series The Gates coming to daytime next year. 

The late Barbara O (a fellow Daytonian) in Julie Dash’s Diary of an African Nun, a short film adaptation of Alice Walker’s short story. Dash’s work is highlighted here in this essay Black Women Fimmakers of the 1970s and Where Are They Now.

Some Top All Time Read Post Highlights:

Understanding An Obsession With Kate And Anthony Part Two (Bridgerton) 

An Everlasting Appreciation For Daniel King (from “Insecure”) 

Giving Black Love A Chance & The Best Black Soap Opera Couples (In No Particular Order) 

‘Brown Girl Begins’ Gives Us the Afrofuturist Heroine  We’ve Been Waiting For

Inamorata Brilliantly Defines ‘The Other Woman’

My favorite posts— the “get to know me” posts— happens to be an ode to Melvonna Ballenger and the review of Miryam Charles’s poignant film Cette Maison. 

Femfilmrogue is an independent part in the virtual sphere that will remain a reading space. Writing is one of my great loves, a way of passionately expressing how moving televised or cinematic stories can be. Although no plans are set for a Tik Tok or YouTube channel (must retain a bit of anonymity), my prosy words entail whether you should watch this incredible series or this film regardless of when it was released. Short films are so meaningful and full of depth sometimes more so than a feature length. Also, there’s specialness in viewing content older than the time you’ve lived in or a particular moment that you remembered and feel inclined to spread appreciation about. For example, I recall Sunday mornings devouring Emily of New Moon reruns and eventually forming an essay that has since become popular. I thought I was the only person who liked that Canadian show (particularly the first season). There’s a profound respect for L. A. Rebellion filmmakers— recently heard about an east coast version that I will be sharing once information is gathered. While coupled pairings are featured stories here (perhaps due to my soap opera upbringing), I long to find authentic asexual characters, the solitary aromantic people represented in media like Selah in Selah and the Spades. 

On the horizon, I have a new series in the works— Best Female Friendships Depicted in TV/ Streaming Series, the outcome of the first Dayton Black Women’s Film Festival (look for my Q&A with a few featured filmmakers on Sixty Inches From Center), a Bridgerton season three part one snippet, a review of Lisa Prince’s 1995 feature-length film Love & Suicide starring the late Kamar de los Reyes (wrote about his One Life to Live pairing with real-life wife Sherri Saum), Diarra Kilpatrick’s (American Koko) new series Diarra From Detroit, an Abbott Elementary season three wrap up, and other posts. 

I thank visitors— old and new— those who stayed on, championing this small, timid corner of the internet— fellow cinephiles, avid TV/ web series watchers, filmmakers, showrunners, writers, readers, artists, etc. Thank you for coming and spreading the word about femfilmrogue. 

Maggie Cheung Films Streaming

Maggie Cheung’s impressive filmography is available to stream across several platforms. DP: Jingle Ma.

Maggie Cheung came out of retirement seclusion to do an Olay beauty ad and her IMDb has recently added a new project entitled Shi lian zhuan jia with no other information beyond her attachment to star. 

Yet, beloved audiences have enjoyed Cheung’s multifaceted presence, some falling in love with her since playing Jackie Chan’s devoted girlfriend May in the Police Story trilogy. Others were introduced to her through the brilliant Wong Kar-wai’s sumptuous melodramas, mainly the forever praised In The Mood For Love, the ultimate forbidden romance between two married people whose spouses are having an affair. In it, Cheung is a beautiful, observant secretary— wearing twenty different cheongsams throughout the film— balancing her boss’s adultery, her husband’s dalliance, and her own taste of temptation. 

Cheung— born in Hong Kong and raised in England— the first runner up Mrs. Hong Kong beauty pageant winner made her debut in Jing Wong’s 1984 film Prince Charming. Her dynamic performances define incredible range— wise cracking humor, compelling grace, and profound vulnerability, affecting viewers often without verbiage. Her wide expressive eyes tell infinite stories, showcasing phenomenal depth to her many iconic characters. 

A respected award-winning actress breaking barriers, Cheung was the first Chinese actress to win Best Actress at Berlin International Film Festival and Cannes Film Festival in addition to being nominated for a Best Actress Cesar. She has starred in seven films with Tony Leung and six with Brigette Lin, and speaks fluent Chinese (Cantonese and Mandarin), French, and English, and has worked with several renowned women directors: Sylvia Chang, Ann Hui, and Clara Law. 

Thus, here are places to find Maggie Cheung films online as of now. 

Maggie reenacts the roles of silent film actress Ruan Lingyu (1910-1935) in Center Stage. DP: Hang-Sang Poon.

Stanley Kwan’s “Center Stage” (1991) and Zhang Yimou’s “Hero” (2002) are on kanopy, the free streaming service offering eclectic film buffs cinema from all over the world with the aid of your library card. Yimou also directed my latest obsession “House of the Flying Daggers” (2004).

May in the original Police Story. DP: Yiu-Tsou Cheung.

May in Police Story 2. DP: Yiu-Tsou Cheung and Yu-Tang Li.

May in Police Story 3: Super Cop. DP: Ardy Lam.

“Police Story” (1985), “As Tears Go By” (1988), “Police Story 2” (1988), “Full Moon in New York” (1989), “Days of Being Wild”(1990), “Farewell China” (1990), “Executioners” (1993), “The Heroic Trio” (1993), “Comrades: An Almost Love Story” (1996), “Irma Vep” (1996), and “In The Mood for Love” (2000) are all streaming on the Criterion Channel.

Li Hung in Farewell China alongside Tony Ka Fai Leung as Zhao Nansan. DP: Jingle Ma.

Lee Fung-Jiau in Full Moon in New York with Sylvia Chang as Wang Hsiung-Ping and Siqin Gaowa as Zhaohong. DP: Bill Wong. 

“The Seventh Curse” (1986), “Twin Dragons” (1992), “Moon Warriors” (1992), and “The Bare-Footed Kid” (1993) are on Tubi— a free streaming service that has been bringing tons of good stuff.

Su Li-zhen In The Mood For Love with Tony Leung as Chow Mo-Wan. DP: Christopher Doyle. 

Anthony Chan’s “A Fishy Story” (1989), Ann Hui’s “Song of the Exile” (1990), and Wong Kar-wai’s “Ashes of Time” (2008) are on rarefilmm, a rich, fascinating archive of treasures. My Letterboxd review of “Song of the Exile” is here.

Maggie Cheung plays a character named Maggie Cheung in Heartbeat 100. DP: Hau-Ming Chan.

Emily in Clean. DP: Eric Gautier.

Kin Lo and Kent Cheng’s horror “Heartbeat 100” (1987) can be found on Internet Archive here. Oliver Assayas’s “Clean” (2001) is on Tubi and YouTube. Stanley Tong’s Police Story 3: Super Cop (1992) is on Pluto TV.