Abstract The Ip Man series (2008, 2010, 2015, 2019) presents the fictional narrative of Ip Man (starring Donnie Yen), a renowned martial artist, and positions him as a revered figure within the kung fu genre. While Confucianism and nationalism are common themes in this genre, these films diverge from convention by portraying Ip Man’s masculinity in a manner that incorporates traditionally feminine characteristics. This paper aims to explore how the Ip Man series expands the notion of hegemonic masculinity in the kung fu genre by drawing upon the Daoist concept of androgyny and emphasizing men’s roles within their families. Firstly, the film series establishes a traditional Daoist perspective of androgynous gender ideals, celebrating the presence of feminine qualities within masculinity. Building upon this foundation, the movies delve into Ip Man’s relationships with his wife and children, presenting him as a caring husband and nurturing father who grapples with ordinary family issues. By incorporating traits traditionally associated with femininity into the protagonist’s masculinity (such as care and nurture), the series introduces a new model of hegemonic masculinity that reflects the societal expectations of twenty-first century mainland China.