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One day, the wife has changed. She becomes more forgetful, gets herself lost on the streets, and finds it hard to recognize people she meets every day. She used to cook full meals for many guests but now struggles to even make fried eggs. Like so, her time goes backward.
This documentary explores the dual nature of modern zoos: are they vital sanctuaries protecting disappearing wildlife, or are they prisons confining living beings? The film respectfully chronicles the suffering of the animals and the emotional impact on those dedicated to caring for them—highlighting both the ethical dilemmas and heartfelt compassion underlying human-animal relationships.
In Kawasaki, Japan, 1st to 3rd generation of Korean-Japanese and Americans share their daily lives and wish for a symbiotic society. The inter-Korean summit in 2000 brought reconciliation and hope to the divided Korean community. Meanwhile, hundreds of hateful demonstrators are approaching Sakuramoto, the Korean residence, amid deepening tensions between Japan and Korea in 2016.
Journey through Tibetan landscapes.
Shot over three months, the film chronicles daily lives of two "Band One" secondary schools, one for boys and one for girls. Using the "direct cinema" approach, the documentary takes a close look at the present condition of the school system.
In 2017, four bands from the Chinese mainland toured in Taiwan. It marks a historic moment in the cross-strait subcultural communication. The tour is the biggest underground rock event made by rock bands from the Chinese mainland in Taiwan. With the GT Bitches's tour as the main plot, the film is an interview of 10 punk bands, gig organizers,and music fans from the Chinese mainland and Taiwan. What is the punk cultural difference across the strait? The interview in the film might provide a partial answer…
just one of those things is part of a new series of work made at the relaunch of High Heel Project in 2022. Katayama layers cut-out legs and high heels on top of her self-portrait, animating them to create a moving collage. She comments, 'The most important thing is not that everyone should wear high heels, but that, first and foremost, we should have the freedom to say what we want and what we don't want. With the goal of freedom of choice open to all, I must continue to walk and speak up wearing symbolic and extreme high heels:
After their mother’s passing, sisters Noi and Nai are left to run her restaurant. As grief alters their relationship and pressures mount, they must navigate the fragile terrain of family, memory, and tradition.
A documentary on the turbulent life and final years of Rui Itō (伊藤ルイ), the fourth daughter of the thinker Noe Itō (伊藤野枝)—who was murdered alongside Sakae Ōsugi (大杉栄) by the military police—and herself a civic activist. Beginning at age 54, Rui devoted herself to grassroots human rights movements. When diagnosed with cancer shortly before turning 74, she refused life-prolonging treatment and chose to die a natural death.
PAN Zhaode, a rural youth living in the upper and middle reaches of the Yangtze River, immerses himself in the work at a local distillery with enthusiasm and hope. Balancing family and work is the greatest challenge he currently faces. He travels daily between the factory and his home while also frequently visiting mental hospitals and clinics. His aging elderly father, his memory loss-afflicted mother, his wife who has left him, and his two young daughters form the reality he must confront. The cracks in personal destiny and the growing pains of social development intertwine. How will this ordinary rural youth face his limitations and adapt to the changes in his external environment?
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.
Determining which memories are real and capturing something with a camera share a commonality: what lies outside the frame is forgotten. The moment a photographer chooses to capture something, everything else is excluded and pushed out of the frame. In 2024, I weave together a story that reaches beyond the image squares of my childhood and beyond my father's moldy film. This journey raises essential questions: What do we choose to remember, and what remains?
Kenji Shiratori, a blind man, visited an art museum for the first time on a date with his girlfriend. That day, as he listened to the words spoken in front of the work, he began to think, Maybe it's possible to see art even if you're completely blind.
16mm film directed by Nobutaka Yamamura.
A poet’s return to his decrepit hometown turns into a carnival of absurdity with equal parts filth, irreverence and melancholy.
"We dream of a world where we can find our own way." If a woman removes the option of 'marriage' from her life, even those who see her for the first time predict her miserable future. The old belief that a woman's life has a happy ending only when she ends up as a 'wife' or 'mother' is still alive in 2020. Now in 2020, many women are throwing away old customs and flying into their own world. This documentary sheds light on the stories of women who are walking the path of singleness over time. Through this documentary, I hope that the freedom is expanded into two options, and thus make women's daily lives more diverse and free.
18 years have passed since the implementation of the Employment Permit System, and through this system, many migrant workers have stepped on Korean land, with the goal of chasing their dreams. The protagonists of this film also came to Korea in search of a dream,but because there’s no freedom to change workplace in the Employment Permit System, their dreams are hitting the walls of reality.This is the story of 3 migrant workers living the harsh lives of laborers.
This is a film about the unison between the four seasons of life and the four seasons of the year, intertwined with the geospatial and temporal dimensions of a small town named Tongchuan situated on the northwest of the Loess Plateau.
On January 23, 2001, in Tiananmen Square in Beijing, the Chinese Communist Party (CCP) staged and directed a self-immolation of Falun Gong practitioners to seek success. Through logical reasoning and analysis, the film shows clearly that a government-directed "drama" and self-immolation occurred to resolve a situation in which Jiang Zemin, then leader of the Chinese Communist Party, was "in a difficult position" to suppress Falun Gong. In addition, the film tells the story of how Falun Gong practitioners came out one by one to tell the truth, but were brutally persecuted by the Chinese Communist Party and tortured to death, but they did not give in and insisted on telling people the truth in a peaceful and rational manner. This spirit of perseverance and resilience in spite of life and death shook the audience to their core.
Over hundred years of development, the Chinese film industry has been through a lot. Lisa Lu, a nearly hundred-year-old Chinese American actress, stands for a book of Chinese film history herself. In the film, Lisa Lu talks about her life, career, and her on-going process of dream pursuing inside the movie world. During this journey, she’ll also bring out a couple more memorable Chinese filmmakers. Including one of the first Asian actress who has her own “star” on the Hollywood Boulevard, Anna May Wong; Minwei Li, who made a huge contribution to China by documenting the warfare, Chusheng Cai, one of the founders of Chinese feature film, and the world-famous martial artist, Bruce Lee.
After seven years, singer Irma Osno returns to her hometown of Ayacucho in the Andes.
When filmmaker/essayist Sasaki Yusuke accepted a job offer in the city of Tottori, the first thing he wanted to know was how many cinemas there were. The answer was depressing: just one. But when Sasaki started to explore his new home, gallivanting through its streets and alleys, he found traces of a plentiful culture of alternative screening venues. The founder of Tottori’s oldest cinema club is still organising projections; another elderly gentleman discovered the political importance of documentary films decades ago and has shared it ever since with his audiences; a curator at the city’s toy museum thought that showing animation films might deepen people’s appreciation of their exhibition. Where two or three gather in its name, there is cinema. In its emphasis on ordinary people and the social value of film screenings, Cinephilia Now is unlike any other current documentary on the love for cinema.
Inauguration looks at the fragmented history of the Young China Association. Interweaving temporal connections with faint chances of synchronous events between two disparate events at the margins of Chinese revolutionary history: a failed assassination and an impossible trip. The film narrates a forecast of the past, wherein it renders visible the processes of erasure, remembrance, and archival anchors of the early overseas Chinese revolutionary politics and its aftermaths. Movements, geographies, and events do not follow a linear arch but rather are scattered across memories and places, only to be treated as residues, witnesses or simply discards of the history. What happens when the premise of the story is, in fact, the assurance of its erasure?
On an ordinary morning, she brushes her teeth, but when she looks into her own image in the mirror, she sees totally a stranger. She had required a surgery three years ago to change her jaw. This is a story about a person who dislikes her body and decides to take action.
In Hainan, there is a Guanyin Temple. The Guanyin in the temple decided to make a movie based on her personal experience. Two friends and I planned to make a documentary Guanyin Also Make Movies built from this event. Gradually, the act of us shooting the documentary, starting to echo with the act of Guanyin making the movie. To every single person, the image has its own unique significance. Therefore, we also turned the camera to ourselves, deriving Three Men Who Made a Movie Named Guanyin Also Make Movies Also Made a Movie from Guanyin Also Make Movies.
An artist welcomes his friends to an exhibition of his work, but finds himself unable to leave when it closes.
A girl who grew up knitting starts to knit her memories into a story.
In 2002, I am 19 years old, and I am a senior in high school 50 days before the college entrance exam.
Companion piece to "Extremely Good Landscapes" focusing on Takuma Nakahira
This documentary film was produced by the Japanese Government-General of Joseon to introduce Joseon's ondol (a traditional Korean sub-floor heating system) and winter culture to Japan. The film takes a close look at the heating mechanism of the ondol, the installation process, how Koreans get through the winter in a house equipped with ondol, children's various winter games, and a visit to a kitchen, where 'gourd dippers' (unfamiliar to Japanese people) are shown and Korean names for things, such as ‘food blade' for a kitchen knife, are described. This film’s tone resembles an anthropological report. The ending is also impressive. The film beautifully utilizes the sound of fulling cloth resonating quietly on a winter night. Collected in 2020, and transferred in 4K resolution.
In 1983, thirty years after the cessation of the Korean War, the world remains in the grip of Cold War tensions. Over the divided Korean Peninsula, two unexpected arrivals suddenly appear in the skies: a North Korean defector and a civilian aircraft from a communist country. These unforeseen events, akin to alien landings on Earth, are broadcast live across the nation, captivating the imagination of a people caught in the crossfire of the Cold War. But what became of these individuals who abandoned their reality to venture into an unknown world? Did they indeed find their happily ever after?
"When it comes to talking about family memories, I find that I have no recollection at all." A son who has forgotten his childhood and a mother who wishes to mend their relationship come together in an unprecedented way during the demolition of an old house. Through the eyes of lens, the once-filled house becomes empty, and the garden grows wild with weeds. The mother speaks to the camera, expressing her sorrow, regret over leaving the family, and hopes for a future together. As the distance between them narrows, how should the son respond?
Propaganda documentary on landlord Liu Wencai, depicted as the archetype of the exploiter of peasant farmers.
This film was directed by a member of the Ogawa collective, Fukuda Katsuhiko, while they were finishing the documentary Sanrizuka: Heta Village. Fukuda left the collective after this film and continued making documentaries in the village of Heta. Credit: ICA London
Is ‘marriage’ a choice in Korean society? Ji-min and Cheol are a couple living together. One day they discover that Ji-min is pregnant and prepare to confront another stage of life. The director questions the essence of marriage by telling her own story of having a baby as an unmarried woman.
Kamagasaki, a town of day laborers. As Osaka prepares to host the 2025 Expo, the camera captures life on the streets and listens closely to the voices of the dead—voices that refuse to fade.
In 1988, workers at the 'Busan Working Women's House' study the Labor Standards Act, receive overdue salaries, and take menstrual leave and pre- and post-partum leave. As the subdivided women's movement develops, Busan women also take to the streets to fight against domestic and sexual violence. Around the same time, female students in Busan and South Gyeongsang Province actively campaigned to create school rules to regulate sexual violence in universities. In 2000, Pusan National University's first feminist festival
Gei Libao, the former Olunchun hunter raised more than 100 Hunting horses in the traditional way. Although hunting was banned, Libao occasionally went into the mountains, not for hunting, but for the ancestors' hunting culture. Libao's son Liang Liang and his partner are inseparable from the forest, and are more enthusiastic about modern extreme sports. They have formed an off-road motorcycle team, which is consuming the youth of the mountain. One day in summer, Libao's horses was hit by a poacher's bullet, which caused a series of cultural collisions.
Kalibnur has many identities, my sister-in-law is just one of them. Kalibnur has many stories, and she writes letters to herself telling these stories.
Three men set off from Kameari in Tokyo, riding their mama-chari all the way to Kyoto. Along the way, despite several close calls with death, their journey was filled with laughter. Enjoying the thrill of traveling with easygoing friends, the three pedaled their mama-chari toward Kyoto.
Mr. Jiang is a Shanghai dandy, living by himself in a house that stood the test of time since the 1930s as a witness to what happened to the city. Now, the house is about to be torn down as part of a redevelopment plan. A woman becomes a tenant and fiercely pursues the taciturn man, until he opens his mouth unraveling his unique philosophy and personal history. Combined with the verbal sparring between the two and the scenes around the house, the sadness that oozes from Mr. Jiang's life at the mercy of Chinese history-Shanghai during the war, the fury of the Cultural Revolution, and now the present-casts a subtle shadow over the film.
“You’re looking For me in the demonstration Well I have already lost patience You might find me sitting by On the pavement” (“I Saw Her in the Anti-War Demonstration” by Jens Lekman)
Japanese TV special from 1978 with Bay City Rollers playing songs in the TV studio mixed with interviews and behind the scenes footage.
At the peak of his career as a choreographer, Bulareyaung felt lost. He returned to Taitung to work with young indigenous performers. These mostly untrained dancers are fulfilling their dreams in their homeland, and their free-spirited personalities remind him of his youth. Surrounded by dancers who feel like family, Bulareyaung gradually discovers that returning to his indigenous community through dance rekindles the child within him.
Japanese documentary about the submarine I-10 operating in the Indian Ocean during WWII. The film is shot largely from the prowling submarine.
Educational film commissioned by Kansai Electric Power Company
What are we doing after the war？
This film describes the life of some ordinary people in a small town in southern China. Among them, there is a guy just graduated from a college, a businessman, a government office worker, etc.. Although it is said that the country advances triumphantly and the economy develops rapidly, these ordinary people are in a miserable state. Because it is a time of money, they are dreaming of getting it as much as they can to change their poor fate, which seems impossible for them forever.
Director TSENG occasionally began to record the daily life of her mother, out of the need of completing her documentary assignment at school. The films presents a mother's persistence when facing difficulties and her love for her children. In the meantime, interactions and conversations between mother and daughter are revealed spontaneously.