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When the director want to reveal the most secret in life to close friends and mother, what will be the moment these people know the truth? The film conveys the feelings of a person who has had to lie all his life. By when the movie is finished, the director said "Doing this documentary saved my life."

Haneda’s debut as full director, made after four years spent as an assistant, is set in a farming village in Shiga Prefecture (east of Kyoto). The film depicts the traditional architecture, lifestyles and customs of the village, its agricultural and domestic labour, but its central focus, as with many of Iwanami’s early films, is on education.

Ming-Cheng started his ambitious plan about takingself-portraits of himself hand standing in different placesaround the world at the age of 26. In less than 3 years, his first voyage is accomplished with a series of breathtakingphotos featuring various picturesque Taiwanese locales. His one-man show Transparent Kingdom inspired by his journey is then awarded the prestigious Taishin Arts Award.

An art teacher returns to her childhood home to mourn the passing of her grandmother. As she pieces together the fragmented memories of her youth she finds herself coming face-to-face with the problematic issue of her country’s fractured history. Through an artistic duty that this teacher gives to students, a performance art process that has lasted for more than 10 years, a representational portrait of the island’s collective memory begins to emerge; and in so doing, these young artists have initiated a process by which Taiwan, an island forgotten by the world and in the midst of forgetting itself, can now remember itself and construct a new postcolonial identity through art.

A wistful but witty account of a trip to Beijing by filmmaker Viv Li, a Chinese art student who has been living abroad for ten years. Her stay with her family mercilessly exposes how uprooted she has become by her life abroad.

This is a documentary film that explores the life, art, and legacy of the rakugo master Danshi Tatekawa.

In 2012, reeling from the pain of a broken heart, I met Frank, "one of the best psychics in New York." Frank is a celebrity psychic specializing in love, but he has avoided reading himself. As I begin to read him with my camera and my camera and I become his medium, our relationship develops.

Just 0.2 seconds after a sound wave reaches the cochlea, the brain interprets the vibrations as a sound with unique qualities of distance, direction and speed. The emotions and meanings we attach to each sound are subjective.

Will is a kind of verbal symbolic balance sheet for life, in which we reconcile our material and immaterial possessions and pass on our message to the next generation. The poetic last words form the outline of the film composed of four segments reflecting in different ways on life against inevitable finality – whether it is a couple of young people walking through a Parisian cemetery, a video installation poetically pointing out the manifestations of mortality around us, a family filmed from the position of the grave while performing cemetery rituals, or the film director as the passive recipient of a farewell to life.

A loose collection of scenes in Hong Kong shot over a five-year period, this film begins with the Umbrella Movement in 2014 and ends right before the summer of 2019, when large-scale social unrest and violent resistance erupted. The everyday scenes capture the ambience and the landscape of change in the city, standing as a quiet prelude to the ensuing conflicts.

The 2011 Tohoku earthquake and tsunami destroyed large parts of the small town of Rikuzentakata. Here, Hiromi ABE hosts a radio show in which she reports on local events and interviews the residents. She focuses not only on the time after the disaster and the ongoing rebuilding of the community, but also on recording personal stories.

Asakusa’s Mokubatei is the only theater in the Kanto region that regularly bills rokyoku—a form of narrative singing accompanied by shamisen. Backstage, a variety of lives intersect, and the art is passed down from practiced singers to the younger generation. The film’s main character is Minatoya Kosome. It follows Kosome from her growing enraptured by rokyoku singer Minatoya Koryu, then becoming the legend’s apprentice—until to the day she is formally announced as Koryu’s successor and namesake.

In 1995, Hoko Kanou, a single mother, recruited people to jointly raise her children. About 10 people responded to the offer. Then, they decided the day in charge at the monthly meeting, and started joint childcare "Chinbotsukazoku" at an apartment in Higashinakano in Tokyo. It was Tsuchi Kanou, the director of this film, who was raised there. When he graduated from college, he met people who had raised himself, heard stories, and made films. That is “Chinbotsukazoku the movie”.

A documentary about Morisaki Henrik, AKA Terayama Henrik, who became Terayama Shuji's adopted little brother after his death. Henrik continued Terayama's legacy in his own way after the passing of his collaborator and brother.

A unique film in which an elderly man creates miracles in his daily life by playing the leading role himself. The film depicts the process of creating a mysterious world that transcends reality through the act of filming and leads to a surrealistic conclusion.

Ryuji Otsuka and Huang Ji are the ‘main characters' in this very personal homemade documentary that's funny, angry, scary and stirring all at once. He's the Japanese director of the film; she's his wife and a prizewinning filmmaker in her own right. For independent artists and filmmakers, finding an affordable place to live with their young daughter is a never-ending struggle. A side effect of China's astonishing prosperity is sky-high property prices – about $10,000 per square metre in Beijing. The landlords, movers and neighbours they encounter seem bent on driving them nuts. But never underestimate the resilience, determination and lung power of enraged, protective young Chinese parents. Otsuka's sometimes concealed camera reveals intimately how life feels, from ground level, in urban China today.

In the capital of Thailand, the music-underground is exploding right now. That is what two German film makers found out during a two-month stay in Bangkok in 2003. The film portrays bands (Beargarden, Apartment Khun Ba, Som etc.) and labels (Smallroom, Bama, Panda, Hualampong Riddim) from the indie-scene, visits festivals and shows (Pattaya, NoisePop) and meets media (Fat Radio, Channel V), who support the Bangkok music scene. In interviews the highly creative protagonists of the local scene express their outlook on music, their conditions and what their work is about in their own words. The intention of making this film is to show to Western people what is going on in Thailand on the cultural side.

Featuring actual correspondence between the filmmaker's father and the caretaker of his ancestral home on Hainan Island over the past 30 years, we take a glimpse into the life of a 65-year-old Hainan-born Singaporean retiree living in the bustling cityscape of Singapore, and the caretaker living in the tropical village of Qionghai, Hainan.

Documentary of the construction of the Tokaido Shinkansen rail line, the technology involved, and how it functions

Feature film for the group's mini album 'The Connect'.

Director and screenwriter Kim Jeonhan filmed “Yebeodeong Literature House,” a writing studio located in Hoengseong, Gangwon Province, for two years.

Unlike “trilogy on torn-down neighborhoods,” (The Sang-kye dong Olympics, Haengdang-dong People, and Another World We Are Making), Standing on the Edge of Death calmly describes how urban poverty was formed, how they live, and why more than 20 of them committed suicide at once in 1990. In this film, the director explains that people who moved from poor countryside formed urban slum, and because they did not have formal education or asset, they worked as day laborers. Residence was one particular problem they faced as they lost their main dwelling area due to redevelopment. They start their day at dawn and work till night. However, these hard-working people do not receive any recognition from the society.

A short for his website, Kickthemachine

In March 1972, Rebecca Pan self-financed the production of the first ever Mandarin musical, Pai Niang Niang and performed for 60 times at Princess Theatre, Tsim Sha Tsui. This is not only a piece of history of Hong Kong art and culture, but also the most important milestone of Rebecca’s oeuvre. This work used the Broadway musical model to adapt the famous Chinese myth Legend of the White Snake. Bringing together Eastern and Western theatrical styles, the production combined Chinese traditional music, dance, costume and stage design with modern Western concepts. Despite this bold attempt, the resulting work was ahead of its time and was not a commercial success. Also, it was thought to have not been captured on film and faded into obscurity. In April 2023, however, a partial film record of the performance was miraculously discovered. The restored surviving footage has become the finale of this documentary, Pai Niang Niang: The Last Osmanthus Blossom.

In his darkened apartment the poet, translator, and lyricist discusses his work and his "art of being alone". In the words of Tanikawa: "If there is love, there is nothing more to say...".

A documentary detailing the life of a teenage son who waits for the return of his mom who has been serving time for the unspeakable crime.

Documentary on the nature scenery of Heilongjiang.

An exploration of the nature of journalism that focuses on Fukuoka Nichi Nichi newspaper reporter Kikutake Sunao, with reenactments of scenes from his life, in which he is portrayed by the actor Mikuni Rentaro.

Jia Zhitan investigates the One Strike-Three Anti campaign in his village.

‘Siot’ is an animal experimental researcher and vegan, ‘Dalyeon’ is an animal liberation activist and an animal tested pill taker. What do the two different worlds say to each other?

The film focuses on Cao Liou, a 25-year-old drag queen. The explosive creative energy he delivers is stunning, but at the same time, he also displays his egotistical nature and wanton lifestyle. Director Pan Hsin An is the same age as Liou. He peeps into Liou’s life through a camera lens, questioning and exploring. During the filming process, the two often fail to understand each other, and each has his doubts about the other. But in the end, at opposite ends of the scale, they find the same desires behind huge differences.

VOODOO GIRLS challenges Thailand's social taboos as filmmaker THUNSKA PANSITTIVORAKUL and his circle of college friends, talk openly about sex, gossiping and teasing each other as they discuss their past and present partners. Loaded with sexual innuendo, random objects and gestures assume new meaning, rendering even an artist's wooden mannequin a playful sexual energy. Roger Garcia Documentary in a form of home video, telling a story of the lives of 3 girl friends through a personal point of view.

The feature directorial debut of Jiang Wenjie, cinematographer and editor of Keep Rolling, explores the inner lives of three female Hong Kong writers: Hon Lai-chu, Lee Wai-yi, and Human Ip. Though their styles and thematic concerns differ considerably, the film shows that their literary works are all informed by their immediate surroundings, whether that be a childhood home, the streets of Sham Shui Po, or the cattle and woods near Lai Chi Wo village. Time may inevitably erode everything in this city, but these writers continue to tell their hometown's stories in their own unique ways.

From the world to Taiwan, 2020 has been filled with turbulent crises. This documentary records how anti-epidemic hotels play a vital role in the severe test of the COVID-19 epidemic, how they stand up, and what tests they encounter during the process. Director Chen Yujie spent 10 months recording the worries of Chinese people and students who returned from abroad when faced with an unfamiliar epidemic situation; the staff of the epidemic prevention hotel went from fear and fear to enthusiastic reception when they were entrusted with important tasks. From a perspective you have never seen before, every decision made in the battle against COVID-19 will be a piece of history deeply imprinted in your heart.

A special feature included with the Juzo Itami Film Collection about the production of "Super no Onna" a.k.a. "Supermarkt Woman".

Entering the political fray of environmentalism versus tradition raging a round the issue of dolphin hunting in Taiji, Japan since the 2009 release of The Cove, Megumi Sasaki’s documentary is the finely balanced film essay the frayed topic has been waiting for. Instead of propping up images of animal slaughter or beleaguered fishermen, A Whale of a Tale focuses on points of contact and communication between the two sides, foreign activists devoting years to the cause and agricultural workers who have developed a first-name familiarity. Sasaki (Herb & Dorothy) collaborates with journalist Jay Alabaster to examine the historical and material conditions that contributed to local whaling practice and the pressures of globalism and localism that keeps this issue in ideological deadlock—at least for now. -JAPAN CUTS: Festival of New Japanese Film

On July 24, 2012, I drove to a city to cheer three local independent candidates and human right activists. While doing these things, we found ourselves tailed. At 12:00 at night, some policemen came to our room and started the so-called room inspection.

Beijing is a city of endless noise, the roar of construction and gridlocked traffic never too far off. The capital is also home to a flourishing experimental music scene, where young Chinese respond to their surroundings with a cathartic racket. Howling into Harmony takes an intimate look at the lives of three local musicians and their parents, exploring the delicate balance between rock n' roll rebelliousness and family, Westernized culture and deeply-rooted nationalism. Using underground music as an entry point, the film explores the world of young Chinese in the big city.

Reviewing past performances, the actors of Movement Dang-Dang discuss how they can continue performing in an era of non-face-to-face. The performance director suggests that they reinterpret and play one of the roles they had previously played. Actors participating in this event talk about what acting means to them and discuss how the theater and performing arts can survive in a transition period like the present.

A Tibet mountaineering school recruits qualified residents from the two counties at the foot of Mount Everest only, and trains them to be mountain guide of the Everest.

Pig heads, intestines, megaphones: all these and more have been thrown into crowds of loyal fans following the influential punk band THE STALIN or any of number of Michiro Endo's other bands since 1980. Taking a step in front of the camera, however, Endo offers a very different kind of encounter in this inspiring self-portrait. "Mother, I've Pretty Much Forgotten Your Face" follows the artist, a native of Nihonmatsu, Fukushima, on the 2011 nationwide solo tour celebrating his 60th birthday, which was interrupted by the Great East Japan Earthquake. Traveling, performing and talking with fellow musicians and activists, Endo reflects on the past and future of Fukushima, the legacy of Hiroshima, his upbringing and his feelings about his mother, communicated in the song from which the documentary is named.

Lei Suyun, the directors grandmother, vaguely remembers she was a great person. She was the director of the bureau of finance, NPC member. People used to call her Mrs. Lei. Now Lei Suyun doesn't remember things, she laments the passing of time. Her once brilliant achievements are gone with her memory.

The special bond between filmmaker Mei-ling Hsiao and her daughter, who has Asperger syndrome, is meticulously recorded over a period of 12 years. As a result, we see Xiang Yun/Elodie grow from a creative girl into a young adult preparing for a career as a pâtissier. This means leaving her mother in Taiwan and moving to France, where her father lives, and where there is better training. But the distance between mother and daughter puts a strain on their relationship.

A feature-length wartime documentary compiled by Nihon Eigasha, Malayan War Record: A Record of the Onward March chronicles Japan’s 1941–42 campaign from the Malayan Peninsula to the fall of Singapore. Built from Japanese newsreels and confiscated British material, the film depicts key operations and ceremonies surrounding the British capitulation at the Ford Factory, functioning as morale-boosting propaganda for home and occupied audiences. First part of the two-film Mare Senki series; the companion title is Birth of Syonan-to.

Yuho Asaka was born in the 1950s with osteogenesis imperfecta – brittle bone disease. Growing up in less inclusive times, her childhood was far from easy. Yet she overcame prejudice and became a pioneer for disability rights.

Jacky, a Vietnam-born Chinese man, lives under the flyovers in Sham Shui Po. Despite living on the streets, he still has the aura of an ex-triad leader. However, he has lost his will to live after being tormented by a chronic illness. (華語紀錄片節 Chinese Documentary Festival 2014, 采風 Visible Record) Dir. 徐智彥 / Chui Chi Yin 香港 Hong Kong / 2014 / 37 min

A diary film composed by images where the director, after buying a CineKodak 16 (a pre-war 16mm camera) at a second hand camera shop, starts filming his wife, his newborn baby and his workplace.

In the artist's first solo return to Bangkok, they navigate the unfamiliar within the familiar. Through technological fantasies of an alternate self left unexplored in Hong Kong, they interrogate artificial intelligence in search of answers. By observing and emulating local youth culture, they reflect on lifestyle, belief, and their evolving understanding of identity.

Documentary featuring NHK archive footage from Tokyo 1945-1980.

Reenactment documentary made for Oriental Time and Space (东方时空). The story concerns the discovery of a photo album containing 16 photographs which documenti the atrocities committed by the Japanese army during its 1937 occupation of Nanjing. This photo album later became a significant piece of evidence used during the trial of Hisao Tani, one of the primary perpetrators of the Nanjing Massacre.