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As the first city hit in the global pandemic, Wuhan, with a population of 11 million, was placed under an unprecedented lockdown. The film showcases the incredible speed and power of China’s state machinery in its fight against the virus. On the other side of the scale is the crushing bureaucracy of that same machine.

This film depicts the life of an old couple dwelling in the deep mountains, where they live separately in their own caves, like two parallel universes that can never intersect.

A boy and his mother sit in a cardboard car in front of painted landscape. This postcard from his childhood is what triggers Chinese artist Lei Lei to go on a journey down the rabbit hole of memory. Put together with his signature style of melancholic collage, time jitters in and out of its usual flow as screenshots, found photos and propaganda images appear in succession as if pulled through an archaic machine to explore how truth is coloured by nostalgia.

A propaganda documentary for the 70th anniversary of the Korean War.

In the suburbs of Beijing, a group of troubled teenagers learn to play baseball with a famous baseball coach, while struggling through their internal conflicts and the inability to play baseball games like professionals. When an accident took place in the winter of 2017, countless local residents got evacuated in Beijing, the baseball team, as well as their playfield were facing the unexpected obstacle—the relocation of their headquarter. With the World Series of the Little Pony League waiting around the corner, the whole team will have to pull themselves together and face the competition on the international stage.

Filmed over a three-year period, the film journeys across the planet seeking those on the frontline fighting to protect the world’s most precious resource from running out. It seeks to awaken and inspire audiences to change how they think about the planet’s most vital resource: water, and act, by revealing the rapidly building water crisis at both a global and human scale. The documentary includes exclusive interviews from some of the world’s top scientists and experts, travelling across continents to explore some of the most shocking and alarming water shortage issues facing our planet today. From the Cape Town water crisis and the violent impact of deforestation in the Amazon to the catastrophic results of intensive farming in the American Mid-West.

What feels like an ordinary weekend outing, paying a visit to grandpa, a young couple gets into a heated argument exposing their resentments, past lies, an old lover, a missed birthday, a possible divorce and a death. But have they told each other everything?

Zhao Yimei was an "Empty Nest" old woman. Her husband betrayed her when she was young, and she drove her husband and son out of the house. Today, she has a poor relationship with her son who lives far away and suffers from urinary incontinence. She lost faith in life and intends to end her life. Lei Xiaoding, a health care product salesman who broke into her life "accidentally". His humorous, diligent, and caring brought long-lost love and warmth to Zhao Yimei. The two became increasingly harmonious and created many warm and happy memories. In return, Zhao Yimei bought many health products from Lei Xiaoding. Lei Xiaoding wanted to achieve something in big cities, but was frustrated everywhere. One day, he defrauded all of Zhao Yimei's savings together with others. Facing such a betrayal, Zhao Yimei fell into despair again.

In Gutai, Wenhua Shi returns to the locations of his childhood in Wuhan and, with the encyclopaedic intensity of a collector, catalogues their textural qualities, the way they look at certain times of day, on 16mm film using in-camera edits; named after the Japanese Gutai movement (in Chinese ‘gu tai’ translates to ‘body tool’), Shi’s collected images speak to the bodily and immediate, a way of navigating, knowing and remembering place.

Chinese cities expand and gradually absorb the countryside. The village of Yangji was yet another victim to the expansion, which benefits local developers linked to the government. Rural residents are forced to vacate their simple dwellings and make room for new houses and entrepreneurs from the cities. The vast majority of local resistance will subside despite meager compensation and low prospects for decent housing, but Azhong is one of a handful of people who choose to fight against the corrupt system.

The documentary focuses on Dai Congyang, a 20-year-old girl with congenital cataracts and semi-blindness. It shows what Dai has been confronted with and how she struggles with the conflicts about her blind boyfriend and her parents who strongly disagree with her relationship. Besides, it witnesses how she gains self-recognition and self-actualization when torn between "to stay at hometown" or "to start up in a bigger city". Back and forth between Wenzhou, Hangzhou and Taizhou, Dai finds herself trapped in a relationship seemed sweet but also full of lies and vanity. In the end, it still remains unknown as to whether Dai chooses to gamble on love or to succumb to her parents and start a new life.

Stuffing the face with unimaginable expressions, tears streaming down the cheeks like a waterfall, hysterical cries as if coming from a neurotic….. These “phenomena” are literally the “bad acting” that are overwhelming our movies today – loud, over the top, crude, vulgar, full of ridiculed cliches that suffocate the audience….the list goes on. The illustrious Stage Opera Director and Lecturer, Olivia Yan Wing Pui, with years of distinct teaching expertise and experience, transforms her classroom into the theater. She documents her students comprising celebrated artists and newbies, award-winning actresses or laypersons, who, in Bad Acting, forthrightly share their struggles and pains, persistence and devotion, on their objective of becoming top notch artists in their acting careers.

Peng Zuqiang chronicles the final two years his uncle Nan spends under the same roof as his elderly parents. Born with physical challenges, Nan requires constant care. Their world largely unfolds within the confines of their modest Chinese apartment, with only brief excursions for groceries or Nan's therapy sessions.

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 legendary life of Ye Jiaying (1924-), a master of Chinese classical poetry. She went through war, political persecution, and wandering overseas all her life. She returned to China after the reform and opening up in her later years, and continued to create and inherit teaching, which was the lifeblood of classical poetry interrupted by the Cultural Revolution. The film interweaves Ye Jiaying's personal life with Chinese classical poetry for thousands of years, showing the significance track of her seeking existence in the long river of poetry. "Du Fu's Eight Episodes of Qiuxing" is the most important research masterpiece in Ye Jiaying. The eight poems of Qiuxing depict the rise and fall of China's prosperous Tang Dynasty. This film uses this as a metaphor for the turbulent years experienced by Mr. Ye, and invites musician Sato Congming to create film music based on the eight poems of Qiuxing, combining elegant music and modern music, bringing new life to Du Fu's poetry.

The director's grandfather is a blind fortune teller and his father a real-estate owner. They have grievances against each other for dismantling the old house. Grandfather thinks it's time for him to leave and asks Father to quit his job. At the same time, an accident happens at Father's construction site. They are entangled in dealing with the hatred from the past and the kinship that has always existed.

Chinese filmmaker Fang Bin's report from hospitals in Wuhan, Hubei province, People's Republic of China, regarding the current outbreak of corona-virus disease (COVID-19), first officially reported on 31 December 2019. The film was recorded during the first week of February 2020. Fang Bin was not heard of after February 10,2020 3:00P.M.

The documentary project follows the young students of a small daoist kung fu school in Wudang, China. The documentary focuses on their daily life and training, and the viewer also gets to join them on their performance trips.

On 1st April 2017, China launched the Xiong’an New Area project, intending to turn the region into a new megacity. In recognition of the accelerated urbanisation that has left the rural environment in a vacuum, Daphne Xu invites workers and residents to put on a performance in these non-places, thus dealing with a taboo subject with humour. – Tom Bidou

“Fang Sir” is an elderly Taiwanese immigrant living in New York City. He has been obsessed with filmmaking for more than 40 years. Since making his last award winning short film in 1989, he hasn’t directed any more films. Now in his late 60s, he wants to make his “last film” in NYC, and a group of young Chinese filmmakers decide to help him make his dream come true.

Being trapped in the United States and self-isolated, I had a video chat with my family in China. Back in January, I shot a roll of film recording the sunset at Santa Monica beach, and rewatching it now, I decided to prolong the dusk as an attempt to erase the decisive boundary which separates night and day.

In the summer of 2019, 18-year-old Wang Yuan released his first solo album, which he co-wrote, and also held his first solo concert. Then he stepped off the stage, packed his bags and flew across the ocean to study at Berklee College of Music, alone. It was a summer of turning around, a momentous decision.

In 2020, most residents on the planet were forced to live indoors for days and months due to the epidemic, which has influenced our usual work and life to some extent. In this isolation, people tend to create ways of self-entertainment and take limited exercise at home. As a result, a large amount of ordinary people emerged on the Internet and started to show the interesting bits of living indoors in their own way. They straddled the differences in time and space, and built vast webs of data in live form, in which they connected and influenced each other.

We follow a man of advanced age walking along a misty mountain path in China. In one shot he carries a bag; in others he carries sacks of rice, or timber, or large buckets of water. He’s filmed in the morning, in the evening, and at night. The seasons change as we walk with him, through the bleakness of the winter, or on a fresh spring morning. The low-key atmosphere, the subdued gray-green hues of the surroundings, and the absence of dialogue and music all lend this film a refreshingly understated feel. A space is opened up in which the viewer can listen to the sound of the wind, the man’s footsteps, the birds. There is time to wonder who the man is that we are following, where he is going, and what his life is like. Only at the end of his journey do we find out a little more about him. One Day is a minimalist take on a journey that allows the viewer room to reflect on what we do with our time.

In the later stages of the epidemic, a young couple who constantly argued over work, a partner who had a conflict, a friend who didn't show up for a long time, their video chats were interwoven and recorded on a computer screen with anxiety, boredom, and hope.

In Shenzhen, Guangdong province, Yu Liang Yuan (21 years old) and his father, Yu Ting Yong (45 years old), on the occasion of the celebration of the Chinese New Year, are getting ready to begin their annual journey from the industrial colony where they work and live to their hometown in Henan. This year, however, appears to be crucial for the future of both of them.

In Wuqiao, a small Chinese town, the inhabitants are dedicated to circus. For decades, different generations have been presenting themselves as clowns, magicians, acrobats and tamers. During the holidays of Chinese New Year, the Wuqiao Acrobatic World turns into a big playground for spectators. Surrounded by Buddhist temples and Taoist sculptures, artists create their own space of circus tradition, imagination, illusion and reality. Backstage life is melancholic. "Wuqiao Circus", a film about circus life fragments, performative existence and the love for playfulness.

A beautiful 7-year-old girl Fuyao is devastated when her parents are arrested and thrown into prison for their faith. Bullied and humiliated, Fuyao refuses to be crushed by the gigantic repressive regime. She and her mom find extraordinary means to connect through the iron bars and grow together.

A young woman who lives in Canada travels back to her home country, only to complete a long-time wish to take a special "couple portrait" with her aged Grand father.

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.

Memories from red guards, three Chongqing people and one cemetery.

Many people lack knowledge of sexual minorities, and even hold prejudices about and discriminatory attitudes towards them. This public welfare documentary focuses on the life stories of sexual minorities. The characters are at different stages, including those who have come out, those who are married, and those who are waiting for the legalization of gay marriage to obtain certification. This film promotes knowledge of sexual minorities in society, advocates for healthy living, and helps exual minorities realize their self-identity, hoping to reduce the occurrence of social prejudice and enhance understanding, trust, and tolerance between people.

West Estate spotlights the severe housing problems in Hong Kong, taking the spirit of resistance outside of the protest. The damaged walls in the cage-like tenements reflect the many forms of social injustice as well as Hongkongers’ widespread sense of rootlessness. Connecting three stories from different households like puzzle pieces, the film depicts people’s despair over issues of family, sexuality, love, and freedom.

In China, it is hard for a divorced or widowed woman to find a good new husband, especially for those who have kids. For thousands of years, this phenomenon has been rooted in the profound Chinese culture. Though losing something, if not all, those women are still longing for love, one of the only things that can provide warmth to them. They want to give their descendants a family with a father who can fill in the gap of fatherly love. Export My Love is a cross-continent love-seeking story between the East and West. Shot in both China and America, this documentary follows four Chinese women who try to pursue love by finding U.S. husbands. Although they've never been to the U.S. before and most of them cannot speak English, they try their best to overcome these barriers and start new lives.

The film's director, Hao Jian, has spent more than ten years interviewing many of his relatives and comrades, and has filmed a large amount of material related to the life of Yu Luoke. The film uses a combination of documentary interviews and montage to document and describe his life. The filmmaker also interviews several generations of Chinese thinkers, including Liu Xiaobo, with whom he considers the ideological significance and persona of Yu Luoke in Chinese history, providing a profound reading and interpretation of Yu Luoke as a thinker, rebel and human rights pioneer from multiple perspectives.

A gripping documentary about the preparations that led up to the 2021 King Pro League tournament finals, the most watched event in gaming history.

Using black-and-white images ranging from African statues to contemporary film posters and political meetings, Chihying considers aesthetic dynamics between the West, China and Africa. How did so many African artefacts end up in European museums? And what if this Western power of selection were replaced by Chinese control?

Starting from 2020, COVID-19 infectious diseases broke out all over the country, with Wuhan in Hubei Province as the hardest hit area. On a special day with wind and snow, Chen Huiying and her family returned to their hometown in Hubei (Hongtu Township) to accompany the elderly for the Spring Festival. At this moment, many roads in Hubei Province were closed, people could not get in and out-effectively prevented and controlled the spread of this epidemic. Almost everyone in this little township were trapped here, workers therefore had no option but to stay at home. Overwhelming news of COVID-19 came from TV news and Internets. The number of infections and deaths rose sharply with all-day live broadcasting. Accompanied by fear and anxiety, repeated the usual ordinary state of life, and children seeded the only fun in the enclosed space. As days passed, everyone looked forward to having a safe environment for their families and waited to the situation of the epidemic to improve.

It is recommended to watch "Catch the Ghost" first, then watch the film. On the third day of the first lunar month, in Dongchenlou Village, Yuncheng County, family and nephews gathered. Hengxin concealed his parents and started a drinking contest with his brother.

This documentary, edited over a period of six years, spans 20 years in the lifetime of three families of workers who were made redundant by their company. This work is divided into four parts, each part focusing on one family, the Zhou family, the He family and the Tao family, as well as one part about my hometown. This four-part documentary is an attempt to take a closer look at the process of privatisation in China over the past 20 years.

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.

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.

Two young Chinese women draw themselves into an irreconcilable relationship with each other, one in a small town of Southwestern China, and the other in an old apartment in Toronto.

The forced closure of the Sungei Road flea market in 2017 leaves evicted hawkers like Fook Seng, in his 70s and with a variety of ailments, with little recourse. in his 70s and with a variety of ailments, with little recourse. For him and his partner, negotiating is imperative to their survival—beyond their informal trade, it is also the way they wend their way through the thicket of bureaucracy to access financial aid.

Eighteen years ago, the Three Gorges Dam was in the building process. The Zhang family, who lived in the old town of Yunyang had to move elsewhere. One day, the grandfather suffered a stroke and lost his memory. The children returned to look after him. The eldest daughter even bought an apartment and new furniture for her old man. Years later, Grandpa Zhang turned better. It is time to consider how the family should go on. The topic is now focused on the eldest grandson. The relatives ought to worry about his marriage, for he is already 28 years old. Facing this urge, the grandson has then considered pretending to marry his best friend to comfort the family, while living a completely different life in Europe.

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.