Panther series. In March 1977 she directed six dramas for the Independent Commission Against Corruption, a Hong Kong organization created to clean up government misconduct. Two of these films were so controversial that they were banned. A year later, Hui directed three episodes of Below the Lion Rock, a documentary series about people from Hong Kong, produced by public broadcasting station, Radio Television Hong Kong. The most recognized episode of Hui's is Boy from Vietnam (1978), which is the start of her Vietnam Trilogy. In 1979, Hui finally directed her first feature-length film, The Secret, which presents images from the gloomy and dreary old Western District, with its worn-out mansions, shadowy alleys, fallen leaves and religious rituals, such as the ceremonial rite of releasing the soul from purgatory by burning paper money and cutting off the head of a chicken. The Secret earned Hui a Golden Horse Award for Best Feature Film. In the 1980s, Hui's career was growing internationally. The most popular films of that time were Eastern variations of Hollywood gangster and action films. But Hui did not follow the trend and created more personal films. Many of her best films dealt with cultural displacement. In particular, her central characters are often forced to relocate to another country where they struggle to learn and survive. Hui explores the characters' reactions to new environments and their responses to their return home. During this "New Wave" period, most of her films are sharp and tough, with satirical and political metaphors, reflecting her concern for people; for women; for orphans devastated by war; and for Vietnamese refugees. Her best known works in this category are The Story of Woo Viet (1981) and Boat People (1982) – the remaining two parts of her Vietnam Trilogy. Boat People won the Hong Kong Film Awards for Best Film and Best Director. Although Hui has directed some generic films, another common theme she works with is family conflict, such as in the 1990 film My American Grandson. Hui's concern for regular people, and especially women, became the most common theme in her films. She creates stories of the experiences of women. One of her most personal works is Song of the Exile (1990), a semi-autobiographical film about family connections and identity. It depicts the story of a young woman, Cheung Hueyin, returning to Hong Kong for her sister's wedding after studying film in London for