"A character trapped on an ever changing line. This was my first film made while a grad student at New York University's Film School in 1968. The film won the ASIFA award for best student animation east coast." - Jeremy Kagan
In a Canadian mountain resort, Vixen Palmer resides with her naive pilot husband Tom. While he's away flying in tourists, she sleeps with practically everybody including a husband and his wife, and even her biker brother.
Centring on the legend of the four ancient Chinese heroines, the film was a novelty for audiences at the time, as the singing performance was in Cantonese and used huangmei operatic rhythms—a popular trend in the 1960s, yet it retained traditional flavours by using operatic luogu percussion in the battle scenes.
Sam Moran is a Honolulu charter-boat captain who leads fishing expeditions in the tropical paradise. When his daughter is found murdered at the party of a wealthy young playboy, he seeks the truth about the murder.
Forced behind British lines by engine problems, the Red Baron camouflages his plane, swaps uniforms with a dead soldier, and, posing as a Belgian, makes his way to a hospital.
A group of Northern vigilantes, roaming the post Civil War south, attack and kill the fiancee of war veteran Brian, who is rescued by his friend, Daniel.
There's nothing like a good, opulent, gaudy musical to lift the spirits, but when it's a 1960's Hong Kong musical orchestrated by a Japanese director and composer, it breaks through the ranks as a classic of campy kitsch.