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There are many "street barber stalls" under Hutoushan. Most of these stalls serve senior citizens and working people, and have become a traditional part of ordinary people's lives. The stall holder and the customer are separated by mesh nets, while friendships and a feeling of warmth and humanity flow between them.

Suna and Bunny, a lesbian couple, are planning their wedding on the last day of 1999. They want to invite their close friends to join the celebration of their love. However, the wedding is called off after their sudden breakup. When the ex-lovers get together for the documentary shooting, it seems like they still have feelings for each other…

In mid-19th century, an American civilian merchant ship from Swatow, China passed through Taiwan Strait accidentally drifted to Vele Rete rocks and hit a reef. 14 crew members land on the coast of Kenting, Hengchun. They accidentally entered the aboriginal territory and was attacked. Only one crew member survived and ran to Takao, brought the incident to the light. This incident triggered a series of international political and diplomatic disturbances in the future, and also affected the far- reaching destiny of the aborigines in the southern tip of Taiwan. 150 years later, what was left after the accident that caused an international sensation?

That old street is no longer flourish. The walls have fallen and houses were abandoned. But still living for those who were forgotten by times. Grandpas playing cards, chatting and drinking tea, Grandmas doing laundries…. They slept inside the old house, but doing everything outside the house. They helped each other, day by days, year by years.

Hsin-yu said he wanted to be himself. In order to alter her ID card registration from female to male, Hsin-yu began to go to the hospital for psychiatric evaluation in accordance with the law, and also prepared to undergo gender reassignment surgery. At the same time, he must also ask for the acceptance and recognition from his parents and siblings. It is extremely difficult to confront with his parents' worries and the doubts of his brother and sisters, however, Hsin-yu still persists in being himself...

Filipinos are frequent winners of global beauty pageants. They craze over pageantry not only in the Philippines, but everywhere the two million Overseas Filipino Workers (OFW) work. Factory OFWs Robin, John Louie and Raymond are candidates of the Ginoong Taiwan pageant held in Hsinchu. Can they grasp their dreams as they embark on the journey of companion and competition for the crown?

Through conversations with his grandparents, the director uncovers family conflicts from 60 years ago and reflects on how life choices shape perspectives on aging and living. The film delves into the causes and consequences of choices, exploring themes of helplessness and resilience. Woven through memories, it reveals the complexities of life’s final stages and the pursuit of meaning.

The Stonewall riots were a series of spontaneous demonstrations by the LGBT+ community that began on June 28, 1969 in the Stonewall Inn, Greenwich Village. This was a turning point in the gay liberation movement and is often seen as the start of the modern fight for LGBT+ rights and freedoms in the United States. 50 years on, for many around the world this remains a dream. Filmed in Honduras, Zanzibar, Taiwan and England, the documentary provides unique access to the poignant personal stories of those facing challenges due to their sexuality or gender identity.

The analogue film maps our perception of the environment and how we relate to it through different perspectives and the influence of various changes. Do we perceive the city – the space we have been familiar with – in the same way when we look at it in hindsight from a plane window or watch it in a shaky 8mm video?

“My Life Against Taiwan Sotofuku – 1891~1931” is Taiwan’s first biographical animated documentary. The film combines animation, archival photos, footage, and sound theater to recreate the heroic epic of CHIANG Wei-shui, the “the Savior of Taiwanese People,” during Japan’s colonial rule of Taiwan. Through first-person flashback narrations, Taiwan’s pioneer revolutionary CHIANG Wei-shui tells the turbulent tale of the rise and fall of Taiwan’s non-violent anti-Japanese movements, as well as a lifetime of remarkable resistance against Taiwan Sotofuku (Japan’s colonial government). Cast

The term "garbage" is relative, but most people's definition of garbage is absolute and rigid, and the definition of a person like "garbage man" is also relative. Compared to the ostrich that disappears when humans avoid garbage and not see psychological. With a lively and lovely tone, the film brings out the special views of how the two protagonists look at trash when they walk between the cities, and then connects the delicate relationship between their love for trash and their families.

This documentary tells the sorrow and helplessness faced by villagers in Nansalu Village (Ming Tribe) of Namaxia Township at southern Taiwan, a hard-hit area by typhoon Morakot. The twelve short stories about homes depict the kind of emotional entanglement experienced by the tribal people after going through a drastic disaster. These stories portray the cruelty of reality and allow the audience to see how it forges endurance of life.

Yong-shun, in order to pay off his debts when he was young, he started a life of driving a ready-mix truck during the day and working as a logistics truck driver at night. He has a not-so-mentioned twin brother, Yong-ho. In the early years, he and his brother became partners and engaged in driving logistics trucks together, but everything ended in 1998 due to a traumatic accident. The accident also caused his mother to stop seeing him. Yu-xuan, since he was a child, his father and uncle would take him with them when they drove the logistics truck. His father died at work when he was in junior high school, and now he has chosen the same job as his father, intending to continue his father's unfinished drive.

The soldier's written words breathe life into the desolate and shell-covered Tong-Sha Island, transforming it into a vivid landscape. It's a place where many men seem symbolically bound, unvisited yet too precious to forsake.

Collection of home movies which was shot by Deng Nan-guang, the well-known photographer, during 1930-1940s.

Mrs. Lin has thousands of photos of herself and has photoshopped herself since half a century ago. She is Lien Lin, the Retoucher. This film is about her life as a female crafter as well as the vanishing art of retouching.

According to the Tao people’s traditional beliefs, illness was a sign of supernatural possession by evil spirits. Many patients thus became isolated, unable to receive any medical care. A native of the Orchid Island (Lanyu) where she worked as a nurse, the filmmaker initiated a program in 1997, recruiting some 40 volunteers to visit and care for homebound elderly patients against considerable social pressure. This documentary captures the powerful dilemma when traditional values clash with compassion.

In the 1920s, a Kavalan family took refuge in Hualien. 70 years later, the filmmaker, a third-generation member of the family, embarked on a self-searching journey to recover his lost identity, producing the first documentary ever made by a Pingpu descendant. Through depiction of traditional Kavalan ceremonies and collective memories, the film asks us to recognise Pingpu peoples’ place in Taiwanese history, as well as their suffering and feelings of inferiority during years of forced migration.

The camera zooms in to its ultimate to the sky and catches what we can’t see with our naked-eye: noise, space, moonlight, and waves.

The story of three Latino Chefs in Taiwan, and their motivation to cook Latino food, and share their Latino culture with the local Taiwanese.

This is a story on human desire and acrid smoke. When Myanmar opened its borders in 2010, there was an incursion of foreign capital into these unclaimed lands, with China the most aggressive of them all. Determined to also stake their claim within this fever rush of Chinese cash, Yung-heung and his comrades have set ablaze large swathes of forest alongside northern Myanmar to be turned into farmland.

When a middle-aged couple went to the mall, they heard the sound of the wind chime at the store and bought it. They want to feel the sound of the wind chimes in the mountains, so they left the workplace and went to the mountains to live off the grid. In nature, they hear the sound of the wind and like to share the sound of the wind chimes.

The documentary Searching for Brodsky by Xie Jiakun, made with Liao Jinfeng, a scholar at the National Taiwan University of Arts (where Xie is a lecturer), is the first to show extensive clips from Brodsky’s well-preserved feature-length documentary – the earliest surviving footage of everyday Chinese life – and dig a little deeper into Brodsky’s past. Typical of early film pioneers, he was basically a showman and businessman, but one with a genuine passion for his subject and for recording life without exoticism or condescension. (One intertitle even sarcastically noted: “The Chinese are fond of tender young bamboo shoots, while the Americans, as usual, prefer the kind of fruits and vegetables that grow in cans.”) He subsequently moved to Japan, where he made the documentary Beautiful Japan, which even included material on minorities.

In 1943, the Imperial Japanese government announced a work-study program in its colony, Taiwan, to recruit children to work in military factories. 8,419 boys came to Japan... An one-hour documentary, Shonenko reveals the unknown stories of these child laborers (Shonenko), from 12 to 14 years old, who manufactured fighter planes in Japanese Naval Arsenals during the Second World War. They left their families, homeland and childhood with the dream of receiving an education. But their dream was to be shattered - first by the war and again by cruel post-war politics in Taiwan, Japan and China.

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.

Recording of film students doing some imitative shooting.

Wang Rongyu, founder of Golden Bough Theatre (1993), creates deeply local Taiwanese productions. His works, like "Stage in the Rain," blend folk opera traditions into original musicals, earning acclaim as quintessential "Tai-Ke theater." Overcoming a 2008 crisis, the troupe now completes its 300th outreach performance, touring across Taiwan.

In Taiwan's southernmost Manzhou Township, a group of local women—ordinary homemakers—transform into acclaimed folk artists when they pick up their moon guitars. The documentary Manzhou Ladies chronicles their lives, led by folk treasure Zhang Rigui, depicting their resilience in preserving local ballads across decades. Now, as young apprentices struggle with language and cultural gaps, the future of these timeless tunes hangs in the balance.

Me and my sister. I don't think an answer is needed but the endless feeling spreading.

In the Amis language, a moment signifies peace and a sense of ‘home’ when the ocean calms. This metaphorically relates to the journey of a group of Amis people who left their coastal homes in the 1970s for city work. In Taipei, they established the “Xizhou Tribe” near a riverbank, contributing to urban development but ultimately facing displacement. This dichotomy highlights the choices they made: some stayed in cities, while others returned to ancestral lands. Decades later, as they completed new houses, their story reflects a deeper narrative of indigenous urbanization—a crossroads of starting anew or enduring broken connections with their past and identity.

A glorified childhood memory: a crispy dessert with a hole in the middle, seen in a Japanese cartoon. The mother corrects: It was a soft doughnut. This cognitive distortion inspired this film, which challenges the boundaries of subjective perception. Images and sounds mix and overlap. Street noise, excerpts of faces, snippets of interviews. Only the people's answers are visible, the questions remain hidden. Once you think about it, consciousness piles up.

A ruined wedding photo sparks a journey through Taiwan’s iconic pre-wedding photographers—uncovering stories of fantasy, rebellion, and pain, and leading to a deeper reflection on femininity, absence, and the unreachable idea of perfection.

When Director Laway was small, his father began working as crew on fishing boats out of the port of Kaohsiung. All through his youth, Laway's mother took him by Kinmen bus from Taitung to Kaohsiung to visit his father every year or two. Amis people have worked on fishing boats for years, and such family visits were common in the years from 1940 to 1960. With permission granted in April of 2013, Director Laway picked up his camera to film six of the Amis crew members. He boarded a Taiwanese ocean-going ship on Bona Bei island - an American possession in the South Pacific. With this ship he followed a purse seiner for 20 days, filming the crew's hard work and difficult life. To conclude, how was Laway’s father able to get through twenty years of his working career as a crew member? The director's only assistant is the son of a photographer - Mayaw‧Laway

Green Island's link to political prisoners remains indelible despite its modern tourism. To depict the multi-faceted appearance of the island, the film centres on 3 characters: a local islander, a former prisoner’s daughter, and an artist with depression.

Here, we feel the joy of saving lives and the sorrow of omnipresent death. Can we truly coexist with wildlife?

What would it be if anything had bloomed from where everything collapsed? Amid the pouring out of irreducible beings, some endure time and space that are only shattered and torn apart.

All and Nothing explores the intricate life of late conceptual artist Li Yuan-chia, tracing his journey from WWII-era China to Taiwan, 1950s Milan, Bologna, and Swinging Sixties London, culminating in his 1971 establishment of the L.Y.C. Museum & Gallery in rural Cumbria. The film captures his essence as a journeyman and artist.

Focused on the 2018-2020 excavation of Todos los Santos Church on Heping Island, Taiwan, this film delves into maritime exploration and colonisation of Taiwan. The director combines archaeological findings with a cross-disciplinary musical performance, capturing the delicate excavation process. Furthermore, the film traces a creative journey from the site to historical events in Asia.

A healing poem about the companionship of all things in a family garden. A mother gathers crops and cooks with her son in their daily life. The son, while imitating his mother's cooking in the kitchen, chants folk poems with a sense of regret and longing for the distant.