helped put Hong Kong fantasy cinema on the global map with 1983's Zu: 
Warriors from the Magic Mountain, a young Tsui Hark showed off his rough side with this infamous shocker initially shown in Hong Kong as Dangerous Encounters-1st Kind (or more logically referred to as Dangerous Encounters of the First Kind). Inspired by real reports of youths committing irrational, violent crimes, the film's initial cut was immediately rejected by local censors who insisted on changing the modus operandi of our main characters that kicks the whole thing into motion. Even after some reshoots and retooling, Don't Play with Fire was still one of the most extreme films of its time and brought in significant audiences who wanted to see what all the fuss was about. Since then it's been tricky finding a decent copy of the film in either cut, but both the complete international version and the director's cut -- as well as a much shorter English dub -- were collected together on Blu-ray in the U.S. by Cult Epics in 2026. 
when a job termination provokes her to fling a cat out of the window into some barbed wire (thankfully very fake), which prompts her to extort the trio into letting her ring-lead them in a crime spree. 
A stash of money orders and some ruthless gangsters soon enter the scene as Tan finds himself way over his head dealing with a mounting body count. 
Jean-Michel Jarre-laden glory. 
An audio commentary by Frankie Balboa and Brandon Streussnig does an enthusiastic job of covering the early '80s Hong Kong scene, Hark's career, the needle drops on the soundtrack, the cast, and plenty more. Then on the video side, we start with an interview with Hark (26m3s) about his initial inspiration for the story while reading a newspaper story, the commentary on Hong Kong society, and the story behind the two versions. This one is conducted in English as is the next one with Che (26m49s), who's very entertaining and has great recall about Hark's detailed process, the approach to his character, the mouse scene, and an iconic bird-flipping moment. Then Au appears for a 44m46s discussion about his career including his first film role here, how he was approached by Hark, and the process of approaching a very daunting role that even a seasoned thespian could find overwhelming. Then screenwriter Szeto Cheuk On (7m44s) looks back at the start of the project, the creation of the shooting script after a preliminary one had already been written, the other hands involved in the writing, and the collaborative process with Hark. Finally assistant director O Sing Pui (23m10s) discusses his own entry into the industry wrapping up his student days, his lifelong love of cinema thanks to his dad, and the filmmaking process in Hong Kong in the '70s into the '80s working with Hark and others. Also on the first disc are trailers for this film, The Girl Who Leapt Through Time, The Island Closest to Heaven, School in the Crosshairs, and His Motorbike, Her Island.