The co-creator of Salesman in China returns to the Stratford Festival with a risqué, modern adaptation of Congreve's classic comedy, setting sharp satire and romantic chaos against the backdrop of Singapore’s ultra-wealthy elite.
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Now celebrating its 35th anniversary—with a new 4K restoration rolling out in theatres promises to find new audiences and offer devoted fans a reason to revisit its riches as well as its contemporary relevance, especially with how modern celebrities are treated in the age of social media. We had the honour to sit down with Kwan to discuss the golden era of Chinese cinema, how his relationship to the film and its stars have changed, and who he wants to work with next.
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A debt, a distant land, and a bundle of letters spanning decades these are the threads that weave together Dear You《給阿嬤的情書》, the critical and box-office sensation set to make its US and Canadian theatrical debut on September 4, 2026. Following its acclaimed North American premiere at the New York Asian Film Festival, director Lan Hongchun’s multi-generational drama arrives as a poignant exploration of family devotion, sacrifice, and the enduring ties that bind the Chinese diaspora across generations.
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Our mooncake tin design pays tribute to this rich tradition while offering an education bridge for the next generation. Drawing inspiration from vintage Mahjong sets, including collections from Waddington’s Auctioneers, our committee members, and our Editor-in-Chief, we studied variations in tile design, from characters to floral motifs, carving strokes and symbolic details. We then dreamt up and hand-illustrated our own interpretation.
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There is a particular sound that many of us carry from our earliest memories: the sharp, satisfying click and clang of Mahjong tiles shuffled across a table, the gentle murmur of conversation between turns, and the laughter that rises from familiar stories, playful teasing, and moments shared around the table. Across generations and continents, Mahjong has travelled far beyond the tabletop. It has become a gathering place connecting families, preserving traditions, and carrying with it a rich language of symbolism, craftsmanship, and cultural memory.
This Mid-Autumn Festival, we invite our community to rediscover the beauty behind this beloved game through the 6th annual Love at Mid-Autumn campaign, a celebration of Chinese heritage, creative expression, and giving back.
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There is a timeless grace to the harp that makes it easy to admire. With its sweeping silhouette and gentle, ambient sound, it is an instrument many of us are content to enjoy from a comfortable distance, appreciating its elegance at a special event or as a soothing component in a classical concert. Yet, because it carries such an aura of rarefied prestige, we often rarely get the chance to truly step inside its world or see it as a modern, dynamic storyteller.
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Acclaimed director Herman Yau bridges thriller tension with deep empathy in We’re Nothing At All, starring Anson Kong, ANSONBEAN, and Patrick Tam. Catch the hit Hong Kong LGBTQ+ drama in Canadian theatres this June.
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The modern diaspora is a tapestry woven from memory fragments: the half-remembered stories told by elders, the vivid iconography of classic cinema, and the lingering weight of ancient rituals. For Emily Cheung, the Artistic Director of Little Pear Garden Dance Company, these cultural echoes do not belong solely to the past. Instead, they serve as the living, breathing foundation for her latest ambitious work: Echoes of the Underworld.
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Last week, on April 30, Christie’s Hong Kong presented “The Ai Lian Tang Collection – 800 Years of Chinese Ceramics”, achieving HK$376.7 million with all 20 lots sold. Spanning the Northern Song to Qing dynasties, the collection highlighted the enduring cultural and artistic significance of Chinese ceramics. Strong international bidding reflected sustained global demand for works with distinguished provenance and historical depth. The standout Yuan dynasty “Jinxiang Ting” narrative jar became the most valuable auction object in Asia this year to date, achieving HK$174.9 million (approximately CAD$30.6 million).
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PAFF (Pride Asian Film Festival) returns to Toronto for its 2026 edition at Cineplex Cinemas Empress Walk, showcasing a bold lineup of Asian cinema and Canadian short films. Opening the festival is Herman Yau’s We’re Nothing At All, alongside major highlights including Juno Mak’s highly anticipated Sons of the Neon Night, the animated feature Another World, Fish Liew’s award-winning Someone Like Me, Shu Qi’s directorial debut Girl, and a special 4K restoration of Millennium Mambo starring Shu Qi, celebrating a powerful range of contemporary and classic Asian storytelling.
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Directed by Joe Chan, Golden Boy《金童》 arrived in North America on April 10. Starring Louis Cheung 張繼聰, the film follows former boxing champion Cheung Lek, whose promising career is cut short by a fatal mistake that leads to ten years in prison. Upon his release, he encounters the son he has never met, setting him on an unexpected path back to the boxing world and toward reconciliation.
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Breaking box office records within just 60 days and surpassing the milestone held for nearly 18 years by Cape No. 7《海角七號》, the Taiwanese hit Sunshine Women’s Choir《陽光女子合唱團》has become the first film in Taiwan’s history to exceed NT$700 million at the box office.
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