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Concert film and documentary featuring live footage from melody's first solo live tour recorded between June and July in Tokyo, Nagoya, and Osaka.

The second in Wang Haibing’s ‘Three Families’ trilogy (which also includes 1991’s Northern Tibetan Family and 2000’s Days in the Mountains) -- all of which won the Sichuan International TV Festival “Golden Panda” award in their years of premiere. This is the story of an ordinary farmer in the mountainous Xuanhan County, Sichuan Province, a place called Fankuai. The river flowing through Fankuai is called Qianhe, and upstream of the Qianhe River is the town of Bailixia. There is no road or electricity in the Bailixia area; and the only means of transportation is boats. The mountain people use the boat to carry their goods and freight their living supplies. Nowadays, though, a new road leads up to the mountain area — the boatmen’s livelihood may end with the opening of this road, and so the boatman and his family are faced with new choices.

An educational film about gender equality in society in the 21st century.

For five grueling years, Li Ning documents his struggle to achieve success as an avant-garde artist while contending with the pressures of modern life in China. He is caught between two families: his wife, son and mother, whom he can barely support; and his enthusiastic but disorganized guerilla dance troupe. Li's chaotic life becomes inseparable from the act of taping it, as if his experiences can only make sense on screen. Tape shatters documentary conventions, utilizing a variety of approaches, including guerilla documentary, experimental street video, even CGI. Tape captures a decade's worth of artistic aspirations and failures, while breaking new ground in individual expression in China.

Untitled is an early work by Park Hyunki, shot on 16mm film and presented as a black-and-white silent projection. Set against a stark white wall, the work shows the artist repeatedly jumping in place until his body becomes exhausted and collapses.

Pass Through the City documents a tripartite performance staged by Park Hyunki in Daegu on March 22, 1981. Park fabricated two enormous stones out of resin and embedded mirrors onto their surfaces. One stone was installed on the floor of Maekhyang Gallery, while the other was loaded onto a sixteen-meter truck and driven through downtown Daegu for forty minutes. After the ride, the stone was moved to a busy sidewalk by a bank, where passersby touched its surface, gathered around it, and looked at themselves in the mirror. The work was recorded on 16mm film.

Walk, Don't Walk captures landscapes encountered across various regions during a journey through Asia. Having left Asia and been living in Europe, Kim Soun-Gui responds to the transformations of Asia with acute visual and mental sensitivity. Like a diary, she records places such as Kiyomizu-dera in Kyoto, the National Palace Museum in Taiwan, Jongno and Seoul Station in Korea.

From inside the funicular heading to Harder Kulm, the landscapes in the foreground and background appear to shift at different speeds with the train’s motion. These vistas gradually accumulate, yielding various impressions.

Kudaka Island in Nanjo City, Okinawa Prefecture, has long been known as an island of the gods. Around thirty religious rites are woven into the life of the island each year, and they are still solemnly preserved and passed down by the islanders today. The greatest of these rituals is the “Izaihō,” held once every twelve years in the Year of the Horse. “Izaihō” is a sacred rite in which women between the ages of 30 and 41, born and raised on the island, become priestesses or divine women. Centered around a four-day main ceremony, the ritual unfolds over the course of more than a month. The women of the island, led by the noro priestesses, formed a religious order that protected the men and the daily life of the community. This is a documentary record of the 1966 “Izaihō.”

The science of carbon counting is becoming a quintessential knowledge practice that characterizes the age of the climate crisis. From the carbon footprint information on a soda can to the international treaties on carbon credits, we count carbon to design and orient our climate policies. Knowing the accurate amount of carbon emission and absorption, however, is not as easy as it might sound, since counting carbon is heavily affected by contrasting methodologies, competing economic interests, and conflicting cultural standards. The carbon numbers, like all important numbers, are scientific and political at the same time.

Martial law and the square that sweeped South Korea. The same fans I saw at the concert halls were there. Dear you, who brought your light to the square.

Taoyuan County Magistrate Wu Chih-yang continued to promote the Taoyuan Aerotropolis project despite strong disputes from social movement groups and local residents, leaving expropriated households in constant anxiety. On the day of the local chief election, the incumbent County Magistrate Wu Chih-yang lose the election, the residents were surprised and delighted. After experiencing this dramatic election of "voting with tears," the residents of the Anti-Aerotropolis Eviction Alliance decided to nominate Wang Pao-hsuan, Deputy Secretary-General of the Taiwan Association for Human Rights, who has long been involved in anti-eviction issues, to run for legislator to challenge the old political structure of the locality. However, during the campaign, in addition to encountering "external threats" from the original local political factions, the "young social movement activists" and "traditional villagers" in the team also had differences in their ideas about the campaign methods.

A documentary report on Hu Jieqing, Lao She's wife.

An exploration of the fundamental principles of Taoism and their connections with Traditional Chinese Medicine

Directed by Lih-Kuei Chen, this film honours Professor Chiou’s legacy and traces his journey from early disillusionment under martial law in Taiwan, to formative years in the United States, and decades of community-based activism in Australia. Through interviews, archival footage, and his own writings, the film explores Cold War exile, the making of diasporic identity, and the small but powerful role of critical thought in shaping transnational Taiwanese democracy. More than a portrait of a single intellectual, the documentary reflects on broader dynamics of cultural resistance, diaspora diplomacy, and the political life of ideas beyond the Taiwan/China binary.

As a child, director felt no shame in being a lesbian—she was open, unapologetic, and never thought to hide it. But as she grew older, something changed. She began introducing her girlfriend as a boyfriend, stumbling when asked why “he” wasn’t serving in the military. Longing to reclaim the pride she once carried so naturally, she embarks on a journey to confront the source of her silence—listening to the voices of her family and friends who have walked alongside her life.

A lady in her mid-70s was social and active. Although she took heart medicine every day, she continued to participate in various gatherings and activities. However, after the onset of the COVID-19 pandemic, she gave up all outdoor activities, spending most of her time in or around the home. Since then, she has unfurled conversations with plants on the balcony, plants in the kitchen, and those rooted in the vegetable garden too. ‘Get Some Sunshine’ explores a day in the life of this lady (the film director’s mother) and the solidarity she developed with companion plants during the pandemic.

This documentary follows the philosophy of Dosan Ahn Changho, a man who transformed his era through action rather than words. Young filmmakers from Korea embark on a journey across the United States, tracing the Dosan Musical and Dosan Symphony Orchestra tours that celebrate his enduring legacy. Through music, interviews, and the landscapes Dosan once walked, they rediscover his ideals of integrity, diligence, and community in the language of today. Retracing the footsteps of a youth from a century ago, the film asks a timeless question to our generation — How should we live, here and now?

The Tiger God project originated during the artist’s residency at Cien Art Village in Hualien in 2021, inspired by a Sikawasay (Amis priest) who said a concrete tiger carried a soul. The work explores encounters between Han folk beliefs and Amis spiritual traditions, reflecting on suppressed indigenous histories in eastern Taiwan under colonial and religious forces. Nighttime fireworks symbolize external impacts on the land, linking concrete animals, mining, and colonial imagination. The ritual opera returns the footage to the land and gods, weaving ritual, research, and reflection into a narrative about silent objects and memory.

A love letter from a man who has no future, no dreams, or even any ambition in life, until he encounters people, atmospheres, surroundings, and even the ghosts whose stories he listens to every night.

Second part of the Mare Senki (Malaya War Record) series produced by Nihon Eigasha in 1942. While the first installment documented the Japanese advance through Malaya, Birth of Syonan-to portrays Singapore under occupation after its fall in February 1942. The film shows the renaming of the city to Shōnan-tō (“Light of the South”), Japanese victory celebrations, military parades, and efforts to depict the transformation of the colony under Japanese rule. Designed as a propaganda feature, it aimed to legitimize occupation and emphasize Japan’s leadership in the Greater East Asia Co-Prosperity Sphere.

My brother passed away in 2013 and my parents hold opposing beliefs about where he went after death. In search of answers, I turn to spiritual professionals, hoping they might offer real clues to the question: Where'd My Brother Go?

Immature is an animated documentary that explores the fluidity and complexity of gender identity through bodily imagery. Shaped by memory and imagination, it presents an intimate dialogue within the body. Fluid, fragmented, and ever-reforming, the film traces an ongoing journey of exploring gender, sexuality, and selfhood.

Interview on Chinese children's table tennis training in several primary. Tracing the origin and fabrication of a national mythology and it's influence over people's daily life and memory. The interview with children and teacher was mixed with the documents of the history of how this sport was introduced into china, and it's relationship with Chinese political history.

The story of a Japanese scholar, Minoru Hokari, who, before his death in 2004 at the age of 32, achieved work which today commands an ever-widening audience. It is a story of cross-cultural understanding, how Gurindji Elders in the Northern Territory tasked Minoru to relay stories from their culture to a wider world.

Documentary on Feng Tianyue, who developed a computer input method "码根码" (Ma Gen Ma) for Chinese and used an extreme method to promote it by doing graffiti on Beijing streets.

An unmarried Beijing filmmaker facing pandemic setbacks and family pressure launches a 100-day quest: secure funding for a documentary on cultural inheritors. Amidst skepticism about her lifestyle and project's relevance, she documents her soul-searching journey challenging societal expectations.

The flat, wide river holds on its surface a tour-boat of memories, as Som Supaparinya documents her Grandfather’s return via cruise to familiar territories in rural Thailand that were submerged after the Thai government installed a series of dams.

A korean girl, illegal immigrant crosses the vast continent between Paris and Seoul, in search of the true meaning of the freedom by following strangers on the road and through her dream of the beyond world.

Aired as part of People's Home (百姓家园) program on Beijing Television, a story of the wife's 14-year wait for her husband to get out of the jail.

The protagonists of the film are are siblings whose mother, Euis, gave up her dreams as a young girl due to financial difficulties and came to Taiwan to work as a migrant laborer before eventually marrying and settling down. Now, as the siblings’ dreams begin to take root, they navigate the cultures of Indonesia and Taiwan, transitioning from childhood to adolescence—a journey from which there is no turning back, marked by a unique cross-cultural experience of growing up.

“HANABIE.” is a girls' metalcore band whose innovative and hybrid sound—rooted in Metal and Loud music while incorporating dance music and traditional Japanese elements—has been generating buzz. Their major debut release showcases a style so striking that listeners might doubt whether it’s truly a girls’ band. Their January digital single “Osaki ni Shitsurei Shimasu.” gained rapid popularity on TikTok and other social media platforms, drawing attention from early listeners. Beyond appearances at major domestic festivals, the band is set to embark on an overseas tour starting in August, with confirmed performances in Europe and the United States, including spots at prominent international festivals. The limited first edition includes exclusive documentary footage closely covering the band’s journey through member departures and additions, along with rare bonus videos revealing the offstage, personal sides of the members—moments not usually seen in live performances.

Within families, emotions often weave a web—delicate, intricate, and inescapably entwined. This documentary delves into the depths of humanity, the cycle of life and death, love, the complexities of in-law relationships, and the awakening of female consciousness. It sheds light on the lives of the “women who remained,” revealing how they carry on after the passing of their husbands, facing the weight and trials of everyday life. Together, they weather the tides of joy and sorrow. No matter when impermanence arrives, they continue to find quiet direction amidst the rhythms of daily living—a quiet testament to the resilience that life itself holds.

Yun Suknam, born in 1939, supported her widowed mother and siblings from a young age. By the time she turned 40, she felt suffocated by societal roles and chose to pursue painting, spending all her money on supplies and refusing to quit. As a first-generation feminist artist, she continues to paint in her eighties, proving that art is about perseverance, resilience, and an unbreakable will.

The Documentary on the Funeral of King Rama IX of Thailand

The film explores notions of home and belonging in contemporary society. Comprising interviews with workers at the Edo Tokyo Open Air Architecture Museum in Tokyo, and fragments of conversations with renters in that city and London, a productive dialectic opens between the museum’s preserved historical ideal of the domestic and the often unsettling realities of temporary accommodation in modern cities. Combining trademark immersive sound design with impressionistic images and abstractions, Quaintance crafts an austere, oneiric and subtly affecting portrait of residential precarity.

Released in September 1942 by Nippon Eigasha, this 55-minute kokusaku (national policy) documentary follows Japanese paratroopers through every stage of their training—from gymnastics and parachute packing to tower drills and their first jumps from aircraft. Produced under the supervision of the Army Aviation Headquarters, the film embodied wartime ideology and propaganda aims. Widely popular at home and in occupied territories, it was accompanied by a theme song that helped brand its soldiers as “saviors from the sky.”

The TV documentary made for the one year death anniversary of Choekyi Gyaltsen, 10th Panchen Lama.