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This documentary, directed by Beijing-based writer and filmmaker Xu Xing, tells the love story of a married couple against the backdrop of political events in China since 1949. Xu Xing aims to use the couple's personal fate to reflect the history of a nation and to preserve a narrative that has been overlooked in the official version of Chinese history.

The film revolves around the world's first space museum. Tour guide Elizaveta talks about space flights, planetarium engineer Dmitry shows the public the stars and planets, Tsiolkovsky’s great-granddaughter Elena helps local actor Andrey get into the role of her famous great-grandfather, an astronautics theorist. All characters are united by their passion for space and pride in their museum.

From the Fox Movietone News Collection, three Chinese singers and musicians perform a song about the Ming Dynasty, then storytellers tell a story about bargaining at the market. Fox Movietone News Story 4-866.

"This young gentleman talks to you from far Singapore, half way 'round the world." From the Fox Movietone News Collection, filmed in 1930, a Chinese boy, speaking English, introduces himself and his sister, then attempts to dispel some common American stereotypes about the Chinese. Fox Movietone News Story 5-769.

A young woman in love embarks on a dangerous journey to find a man she met on the internet and doesn't know much about. Her stubbornness goes so far that the director is forced to stop her. The film thus opens up questions about the author's responsibility for the subjects she is following in documentary filmmaking.

Director Anthony Ramos joins his good friend, painter Frederick J. Brown, on a trip to Beijing for a retrospective of Brown’s work at the National Museum of China in Tiananmen Square in 1988, the first retrospective of an American artist in China.

Omnipotent Youth Society's first recorded performance since the start of the COVID-19 pandemic.

Sgrolmamtsho is a peasant woman of 35 who lives in an impoverished agricultural community in the Tibetan province of Amdo. When she got married in 1993, she was only 21 and had no experience of work. Through following her daily life, the film aims to show what traditional working life is like for peasant Tibetan women. It shows them fetching water, feeding livestock, milking, cleaning the stables, cooking, household religious activity, weeding fields, transporting manure to the fields and fetching wood for fuel. The images are supported by a commentary by Sgrolmamtsho about her life and her family.

The protagonist of the film "Dr. Zhang" often appears in various media. After being forced to drop out of school during the Cultural Revolution in 1966, he studied by himself in a factory in Chongqing for 17 years, and attended the "Foreign Language Department of Sichuan University" in Chengdu for 17 years, in order to realize his childhood dream of "going to Russia as a translator". During this period, he struggled to make a living by cleaning the university cafeteria, and lived in a hut with limestone under the stands of the school playground. In 2002, the "Sichuan Provincial Department of Agriculture" began to select some Russian-speaking students in the "Sichuan University Foreign Languages ​​Department" to go to Russia to do translations in the form of labor export. "Dr. Zhang", who is almost 50 years old, began to contact the "Sichuan Provincial Department of Agriculture" after hearing the news.

Haunted by post-socialist nostalgia, 25-year-old director Hanwen Zhang returns to the cement-factory town in northeast China in which he was born and raised. The town’s official name is Sheep Pen Town, in the Shuangyang District of Changchun City, Jilin Province. People don’t really use this name, but currently refer to it as ‘the cement factory’. According to oral history, the town was known in the 1990s as ‘the first line of China’. Throughout the film, the director explores this clue to reveal a half-buried story. The town was a product of China’s rapid and radical industrialisation in the 1980s, having been constructed simultaneously with a state-owned cement factory to house the workers who migrated there. With a subtle irony and a nuanced but brave approach, Hanwen explores the history of his country and its ideology through the lenses of his own family and hometown.

Shaw Yifu founded Shaw Brothers (HK), Ltd. in 1958 as the largest private studio in the world at that time called Shaw Brothers and nicknamed the Oriental Hollywood. It established a complete and mature film production marketing system which continuously enriched and perfected its practices to achieve great success. Li Hanxiang developed Huangmei Opera Film and other historical plays. King Hu created the New Ancient Swordsman Film. Chang Cheh created the first film over a million box office record. And Jia Tang and Lau Kar-leung developed their own respective styles of Kungfu in their movies. From such work, Shaw Brothers produced a lasting world-wide influence. Shaw Brothers had produced over 850 films until it stopped its blockbuster production in 1980s. From oral history and old movies, we track down the details of the past, mixed with romance and sorrow, prosperity and impermanence.

LIU and WEN share a collaborative relationship in film, and also a close friendship despite their age difference. In this visit by WEN, we enter LIU’s life and reflect on her five-decade career in acting. Regardless of glamour or monotony, a steadfast mindset always prevails.

Using the same interview techniques applied in her highly successful Speaking Up (2005), Tammy Cheung turns her attention from Hong Kong to Mainland China. In Speaking Up II, she interviews around two dozen students from a well-respected primary school in Jiangxu (near Shanghai). They are asked to express their views on different topics such as personal issues, family, gender, society, and more. Presented in a skilfully edited montage and intertwined with footage of their daily lives at school, their answers highlight the changing face of today’s China.

CG Animation Short Film "The Legend of Shangri-la" is adapted from the poem of the same title by the famous poet Tao Yuan Ming of Dong Jin Dynasty over 1000 years ago. By applying Chinese traditional painting techniques and papercutting to CG, IDMT created this unique animation film with the style and movement of Shan-Xi shadow puppet show. The combination results in this original 3D CG short film with its unique visual style. It tranquilly depicts Peach Blossom Valley (known to the western culture as Shangri-La), the earthly paradise, in Dong Jin people's mind and their desire to return to happy and harmonic life.

PAD YATRA: A Green Odyssey is the adventure of 700 people trekking across the Himalayas with a call to save the planet's "3rd pole," a glacial region now devastated by the climate chaos associated with global warming. Battling the most treacherous terrain on the planet, the trekkers spread their message of ecological compassion through human's most basic means -by walking on foot, village to village, and showing by example. Surviving harrowing injuries, illness, and starvation, they emerge with nearly half a ton of plastic litter strapped to their backs, triggering an historic green revolution across the rooftop of the world.

The spotted dog in my hometown went missing, which started my thoughts...

A documentary looking at an attempt to build a new church building in Yiminhe, a small town located in Ewenki Autonomous Banner, Inner Mongolia. Director Bai Xiuying is the person-in-charge of the local church, where only one of the five congregations worships in legal surroundings. As a result of the insufficient facilities, Director Bai has to rush to services in various places. She decides to build a big church that can accommodate all the congregations, and, after two years of effort, the project is approved. The documentary traces the construction during a period beset with insufficient funding. When the project is complete, the contractor refuses to hand over the church to the Christians until he is paid what he is due, and Director Bai finds herself trapped in enormous debts. Depressed but still faithful, Director Bai works hard to continue to raise money, while the congregations continue to use their original venues for gatherings.

Early in the morning, the priest read in the church at the disabled orphanage. At dawn, the villagers entered the funeral ceremony during the prayer ceremony. In disabled orphanages, there are babies in the youngest children. Two children attending school together did not attend the class normally. More children with reduced mobility can only be dazed and crawl on the ground. But they are also God's people and attend worship services in the church. The autumn mist was hazy, and a new cathedral was being built in the village. Insects, kittens, puppies, orphans, villagers who worship, all life is safe. At night, the tired priest went to sleep after finishing writing. In his dream, he reached a graveyard and remained silent with his dying mother. Seasons are changing, rainy days, winter snow, orphans wear thick winter clothes, making movement more difficult. The cathedral was built, and people celebrated the biggest Christmas day of the year.

Followig the steps of Si Man, the artist known as 0.38 and the Life Band, we will also go deep into two social work organizations - Fu Hong Society and CASASMC, rethinking the definition of “minority group”.

While the first reports of the Covid-19 outbreak in Wuhan are heard on the news, elsewhere in the country Zhang Xiuhua—who is suffering from a different disease—is fighting for her life. The doctors may have given up on her, but her children and grandchildren haven’t, and they’re doing everything possible to keep her with them for a little while longer. We observe the family in restrained black-and-white as they struggle with their mother’s situation, the economic consequences of the pandemic, and each other. Pride and opposing worldviews ultimately put a strain on relationships between the brothers and sisters—but they still don’t budge from their mother’s side. Events within the family remain at the forefront, but the viewer repeatedly picks up on moments from the Covid crisis and the restrictions arising from it. In this way the film subtly interweaves a private crisis with a global emergency, and shows their reciprocal effects on a human life, at both micro and macro level.

Jointly directed by filmmakers from both sides of the Taiwan Strait, The Forgotten City tells the story of how Taiwan and China each built special housings to meet the need of an era, and how, as time went past, these housings became ruins. The residents in Taiwan's 'dependents villages' and China's 'third-front factories' now face the fate of their homeland being abandoned or demolished...

In Lengshuijiang, balanced in a space made up of official images, an audiovisual program presents itself as a taciturn witness of rigid, modulated, even aberrant moments in which China constantly tried to demonstrate its success through its own fresco, an atypical form in tone of virtual reality.

For centuries, Tibetan nomads were the only inhabitants on the banks of the sacred Lake Kokonor—the Blue Lake—in Amdo (eastern Tibet). Starting in the 1990s, the area saw a dramatic rise in domestic tourism: It was not just the lake’s beauty that drew tourists but the Tibetan culture in general. This influx of tourists came at a cost: the locals now find themselves having to adapt to new roles in the tourism industry. This glimpse at the Kokonor community examines the transformation of the lives of the Tibetans who live there.

Feng Yan spent seven years in the Three Gorges region following a peasant woman, Bingai, who refused to give up her land [for new development]. Feng is greatly moved by Bingai’s uncompromising personality. Feng says that most Chinese people give up their land too easily, like losers. Meanwhile, the extraordinary effort Feng puts into making this documentary is comparable to Bingai’s perseverance. In this sense, the filmmaker and her subject are mirror image of each other.

Mei Mei is a transvestite male actor who is eager to find his true love. He searches among gays and transvestites. In 2004 he finally meets a man of his match who also accepts Mei Mei as he is. They have a public wedding ceremony. Mei Mei is very confident about his marriage and his future. His friends throw a farewell party for him before he leaves for Shanghai where he and his love are to embark on a life together. However, things are not as perfect as planned, and his marriage proves harder than expected. Finally Mei Mei comes back to Beijing. He feels embarrassed when running into old friends. Also, he runs into financial problems worse than ever before.

This has been a tumultuous year for the world, with dramatic changes affecting me not only from the outside, but also from the inside. In the 20th year of my life, I put the idea of making a short film into practice for the first time, and I cut a short film from my fragmented phone footage to commemorate the passing of 2020. During the first half of the year, I spent my days at home in fear, and my desperate inward search caused a break in my relationship with the outside world. During the second half of the year, I was led by the camera to reacquaint myself with the world. I went to a music festival for the first time and attended my first funeral; I began to care about the people and things around me, and discovered landscapes I hadn't noticed in my life.

Li Ruicheng is the fourth generation owner of his family's two century-old Chinese medicinal plaster business. He has spent the past year appraising the potential heirs to the family business, but just as he is about to arrive at his decision, his two children express their desire to start their own businesses.

This is a film both about the spectacle and the space, about how the spectacle has caused the mutation of the (physical and phycological) space in which we reside. This film is determined to be the ‘film on space’ of our times, an epic theater, the general observation of the geological structure of this time. I therefore invent or re-invent some terms for my purpose: Archae(now)logy; Ruinology; space bankruptcy; theater of life -- theater of cruelty -- theater of spectacle; the body-film; the New Berlin Wall - Iron Curtain; and “refugees without camps”, ‘the plants”, “the ghosts,” the asthenosphere, dark energy... I have stolen a great amount of found footages/ready materials or already existed films. This “stealing” is exactly the way to get connected with history and the history of film, to construct an “echo film”.

How should I love you, my child? This story is a mother’s agonizing journey of parenting. Wu Jun, a mother in her 50s, has been in emotional turbulence for over a decade. In 2004, Quanquan, her then-16-year-old daughter, suddenly jumped to her death. Unexpectedly, Quanquan’s last words had nothing to do with her parents. The mother was filled with agony and bewilderment, questioing what she had done wrong, and her beloved husband, unable to bear the weight of the loss, moved away from Hangzhou. To start anew, Wu raised another girl, Tingting. Amid intense education competition, she racks her brains to pave the way for Tingting’s better future. However, the girl became rather difficult after entering puberty. Why is parent-child relationship so challenging? How should a mother face her own life? By the beautiful West Lake, Wu starts to read her late daughter’s favorite fable, ROOSTER THE GOLDEN COMB – Fate is as cunning as the fox in the story…

An educational documentary on the Longmen Mountains.

Fly through an abstract world, drawn in by digital ink. Inspired by Taoist philosophy and the writings of Zhuang Zhou, this interactive experience allows the visitor to fly, swim and soar as something other – and maybe more – than human. The game is controlled by moving on a custom-built balance ball controller, which heightens the corporeal experience.

This film mainly records the story of two adolescent children receiving primary education of Peking Opera in Shanghai Opera School in a documentary form. As they are in their adolescence, they gradually form their own plans and ideals for the future. On this unusual learning path, they face the problem of choice between reality and ideals, and gradually learn to accept and grow up.

The "Wugong sutra" is also known as "Transfer to the Sky". A prophecy written by the people since the Five Dynasties Northern Song Dynasty is said to be the proverb of the Tiangongshan Zhigong, Huagong, Yigong, Tanggong and Baogong Wugong Bodhisattvas. The salvation people were robbed at the end, often used by rural secret social organizations, and also banned by the imperial court rulers. The belief in the "Five Annals" in the rural society of northwestern Yunnan has abandoned the function of politics, and only pays attention to the practical effect of the Wugong sutra curse on treating and saving people and protecting one side. This film is a field survey of the Wugong sutra as a folk belief in rural society in northwestern Yunnan.

The documentary film looks a group of old folk artists who live in Ansai County, Shaanxi Province, China. One of them is 78 year old Chang Zhenfang, whose works made out of paper have won many prizes in China and are shown in exhititions abroad. When the film's director finds her in the remote village, she doesn't even know what happens to her works. She lives a hard life.

Civil rights activist Hu Jia was held under house arrest from 2004 to 2008 in the upscale eastern suburbs of Beijing. One day Hu picked up a video camera and began to document things outside the window: his watchers, shepherds tending their flocks, spiders in the rain, and his fellow activist and wife, Zeng Jinyan, going to and from work under the unnervingly close watch of plainclothes police.

In Foshan, a post 90s wage earner, Huang Zhongjian, is attempting to through Choy Lee Fut and lion dance to build justice in his hometown. Northern Xinjiang, a well-known old saddler, Ahet, is sparing no effort to pay his two sons` debts. These two men who disrelated is facing increasingly similar situation.

Luo Zhangjie is 88 years old. Her son Qi Caizheng has lost his memories due to meningitis, and now he can't even cope with the basic tasks in his daily life. Moreover, he hits whoever gets close to him. Luo has been looking after her son, but as she's getting old, she is training her granddaughter-in-law to take care of her son.

Accordion Class explores the under-examined history of the accordion and its legacy in China, as the only permitted western instrument during the cultural revolution. Since then, the accordion’s popularity and influence has risen and fallen over half a century. Looking at accordion classes and competition today, the film presents how the instrument is taught, performed and received by a younger generation in the city of Changsha.

Descending from a long line of fishermen on the Yangtze River, Liu Gujun had to redefine his professional activity when the construction of the famous Three Gorges Dam began. His father, who has recently passed away, had to stop fishing the river due the growing pollution that the dam has created and asked his son to start cleaning the river. In the Chinese tradition of respect for the elder, Lui Gujon took the last wishes of his father very seriously. As such, he puts all his energy and invests every penny of his personal wealth into the ambitious project of cleaning up the river. For lack of sufficient grants from the government, Liu even contracts heavy loans to build a small flotilla of cleaning boats.

The film focuses on the stories of three children with autism and their families. When a husband, unable to bear the fate of his child's autism, chooses to jump from a building; when 'mom' becomes the only word in the universe of a child who cannot communicate with the outside world; when an autistic child, carefully cared for into adulthood, comforts their crying mother by saying, 'I will take care of mom'... These are not just stories—they are real-life glimpses into the lives of over ten million people with autism.

Forgotten in the waves of China's economic boom is the 1979 War with Vietnam and the veterans who fought in it. The filmmaker takes a pilgrimage to Ma'an Shan, site of some of the heaviest battles, as he seeks out old veterans, their memories of war, and the lives they lead today.

In China, beekeeping is an ancient and traditional profession. Every spring, beekeepers migrate huge distances with their bees in search of the best nectar to harvest the highest quality honey. Relying on the changing seasons and fluctuating temperatures, making a living is becoming increasingly difficult in this traditional industry. Flower Chasers follows the journey of young beekeeper Xiaolong and his family as they travel across China in search of flowers and honey, witnessing the precarious living conditions beekeepers face, along with the threat of an ecological crisis.

Self-described “traitor to my male gender,” Da Xi Ge has known herself for some 55 years, but has never possessed the vocabulary to adequately express this knowledge. This documentary short, overlaid with a kaleidoscope of symbols of traditional femininity, follows the day-to-day life of a scavenger, as she prepares for her dream of sitting for a wedding portrait.

An essay film that interweaves meditations on travels with stories of journeys in China across a century: A student expedition into the heart of China in the 1930s, a young traveler's visions of the melancholic landscapes of his homeland, the narratives of movements in early Chinese silent films. Through these fragments of travelogues, the film explores the nature of consciousness in motion and what it means to use archives, images, and cinema as documentations as well as vehicles for travel.

The documentary Building Archeology (jiànzhú kǎo) (2011) considers the more recent past. It’s made up of three vignettes about different buildings in Beijing: a museum, an abandoned hospital, and a detention center. The latter two vignettes are especially interesting. In the second, a woman wanders around the ruins of a hospital built in a week to deal with the 2003 SARS outbreak. The third concerns a former prisoner, tracing out a map of the detention center where he was held in 2011.

The story happened near the Shuangjing subway station in Beijing. The female stall owner was aggrieved by the selective enforcement of urban management and expressed that she would fight to the end for fairness. When the urban management team forced her to close, she burst into tears and complained of social injustice. Even in the urban management team, she had to ask for fairness. But in the face of institutional chaos, she finally chose to compromise and continue the cat and mouse game. The old man is a Christian, is he helpless in obedience to fate? How many people's melody played by the Huqin sounded in the smog of Beijing?

My grandparents lived in the countryside, they still farm although they are over eighty, the old house they lived in has become dangerous, grandpa was crippled by a stroke. They guard the old house all year round. What will they experience? What is their life like? What is their love like? What would their story be like if they were young and turned back in time?

Li Wei captures the everyday lives of people in Inner Mongolia. Both Han and Mongolian people have lived for millennia across this magnificent expanse. But the traditional nomadic lifestyle has been deeply influenced by the impact of modernisation. Some herders do not live in yurts anymore—instead, they have settled in towns. Some young people would rather dress more fashionably, and only old Mongolian people wear traditional Mongolian clothing.