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Young Man, Young Man unfolds in a fragmented structure, reconstructing Yang Fudong’s recollections of his 1980s adolescence in a Beijing military compound, along with scattered memories of collective life in the post-socialist era. In the film, young boys run, practice martial arts, wait for the bus, splash in water, and play in cornfields. There is no fixed narrative; instead, the boys seem to drift through an endless summer. Yet an undercurrent of distance and estrangement suggests that childhood has already quietly slipped away. These moments of adolescent innocence and loneliness, crystalized within the film, form a dreamlike allegory.

A three-screen video installation juxtaposing the Dutch sky, the artist's grandparents' apartment, and the cityscape of Changsha.

At the Summer Palace follows a mysterious man and a young boy as they wander through the Summer Palace, clad in clothing recalling styles from the 1980s and 1990s. The work unfolds like a hazy moment between dreaming and wakefulness, recalling the stillness of a languid afternoon. The era-specific details present in the setting seem to anachronistically clash with their pair’s clothing and behavior. Through this dislocation of time and space, Yang Fudong evokes the complex emotions of childhood, specifically the mixture of curiosity and unease a child feels upon encountering the strange and unknown.

Teacher Wang works as a 'mistress dispeller' in China, hired to break up affairs by any means necessary. Through one of her cases, we explore the ways class, capital, and culture collide to shape romantic relationships in contemporary China.

This is the first documentary film to depict the emotional growth and journey of contemporary Chinese animation creators. Through interviews with many prominent animators, the film offers a rare glimpse into the diverse experiences and behind-the-scenes stories that have shaped the evolution of Chinese animation.

China's first live-action movie shot in space, created and filmed by astronauts Zhai Zhigang, Wang Yaping, and Ye Guangfu using an 8K ultra-high-definition camera aboard the China Space Station. It will immerse audiences in the experience of China's space journey, showcasing breathtaking landscapes, life inside the space station, and the authentic inner world of the astronauts.

A 15 part film featuring scenes from Xianghe, running from the mundane to the surreal: people parade in opera costumes, slaughter pigs in public and dine on the fields; they bury the dead and get married, tickling the bride and groom, everything done without speech. Sitting somewhere between intimate personal reels and detached ethnographic records, the work creates a simultaneous sense of immersion and distance – of the type you might associate with end-of-life flashbacks. Yang gives nostalgia a fantastic, mystical bent, as if to suggest that to revel in memory is a creative act.

After seven years of living and studying in Poland, Mo returns to her parents in China. She quickly finds herself back in the family's perpetual patterns, but she feels out of place. Her parents' usual care, though well-intentioned, often triggers conflicts with her, while relatives chime in with questions about when she'll take the next step in life. Meanwhile, her relationship with her boyfriend is far from smooth, and then there's the matter of the mole below her eye. According to traditional Chinese face reading, its tear-like appearance will bring misfortune. What will happen if she simply leaves it as it is?

The video opens with a simple message: "To my friend", recorded in the artist's own voice. This intimate dedication sets the tone for the entire film, which unfolds through archival footages, news reports, and social media excerpts from a recent past that is as turbulent as it is thought-provoking – raising questions about how we behave and, above all, how we act in the face of impending, widespread violence.

Yaqin is a girl eager to see the world. WANG Jiong is a boy who stakes his career on a confession. These two newly graduated friends both want to escape their families and realise their self-worth. But when an imperfect society collides with an imperfect self, when cheerfulness becomes a mask, and when initial aspirations waver in reality, what kind of people will they turn out to be after this stumbling coming-of-age journey?

The Greek shadow puppetry began 130 years ago. A student of Greek shadow puppetry travels to China, where shadow puppetry began over 2000 years ago. There he follows Chinese shadow puppeteer master He Shihong in Wushan of China. Watching his performances and listening to him talk about his art and his career in it, many parallels are drawn and he expresses them by including his Greek shadow puppetry teacher in the film. This documentary is a cultural bridge between Greece and China through the art of shadow puppetry.

After being steeped in Chinese traditional culture for 30 years, CHEN went to Paris in 1984. The different cultural environments of China and France enabled him to grow into a unique figure in the field of classical music. CHEN neither seeks approval from the West, not even his advisor Olivier Messiaen, nor caters to China. Instead, he uses his personal musical language to tell Eastern stories.

Heading south from the 38th parallel, the Shipindao team turned their attention to South Korea. They spent over three hours telling a story of Korea and its history, one that differed from the legends.

In Sichuan's Liangshan mountains, Yi children grow up between tradition and change. When a father returns from prison seeking redemption, he finds that his daughter dreams of basketball but is torn over her schooling, and his son longs to earn money. As summer ends and walnuts ripen, their separate journeys begin.

The documentary reveals the behind-the-scenes production process of the film “Ne Zha 2”, telling the story of director Jiaozi and more than 4,000 animators across the country striving to push the boundaries of creativity. Through moments of work and lighthearted interactions among the production team, the film showcases the relentless spirit, optimism, and boundless imagination of Chinese animation filmmakers as they continuously break through creative limits and personal barriers, embodying the philosophy that “life has no limits.”

Deep in the lush mountains of Hunan province, Youbin lives with his father and two grandparents. He is 8 years old and he is a poet. The family is poor and lives on what they can grow. But at the village school, the children are taught Chinese poetry, and Youbin discovers the magical power of language to describe one’s feelings and place in the world.

In this enveloping second part of the Youth trilogy, shot between 2015 and 2019, Wang Bing deepens his vérité portrait of a generation struggling to survive on meager wages amidst a nation’s economic expansion, emphasizing the distrustful, increasingly combative relationship between workers and management.

Un germà explores the emotional and physical distance between two brothers, through archival footage and present-day material, the film blends past and present to show the difficulties they face in reconnecting.

ZHANG Weili, the first-ever Asian UFC women’s world champion, secured the UFC strawweight belt with a 42-second TKO victory over the reigning female boxing champion. She successfully defended her title against the legendary fighter Joanna. However, after two back-to-back defeats at the peak of her career, she found herself in a personal slump. Determined to reclaim her identity, she took the bold step of cutting off her long hair.

This documentary by Zhang Jinghua captures behind-the-scenes moments and glimpses of everyday life during the filming of Yang Fudong’s Fragrant River.

Father’s Fireworks is a short film the artist edited out of footage of daily life that he had previously shot. The film first depicts a worrisome and loving letter written by Yang Fudong's father to Yang Fudong through textual still frames, after which it shows the artist’s father setting off fireworks in celebration of the New Year.

County Magistrate, County Magistrate depicts a collective migration unfolding in an indeterminate time and place. Men, women, and children from a village move through mountains as the sky gradually grows dark, walking resolutely into the distance until they arrive at a new settlement. The abandoned courtyards they leave behind still bear traces of daily life: a steaming kettle, unfinished bowls of food, an old television flickering with static, and worn-out pieces of furniture. The camera then slowly pans to an outdoor movie screen showing After Armistice, a black-and-white film released in 1962. In the film, a man draws a business card from his pocket and introduces himself as Xianghe’s newly appointed county magistrate. At this moment, the story slips into another layer of fictional time and space.

A calling inhabits the blank pages, unfolding a secret writing of hers. The unseen written traces seep from the murmuring land, pushing through fragmented voices to become new forms, beings made material. Framed as a dialogue with my grandmother, this film explores an alternative form of personal writing by Chinese women in political shifts, absent and abundant. The 'blank' becomes an image, carrying a search for agency; of land transformed and of women unheard. By breaking down linguistic structures, the film opens a space for imagining, reading, and performing, allowing for emergence.

Liu Liu is living in a strange new land. While his mother looks after the shop, he goes exploring. Encountering a ghost monster, a fierce battle begins. Behind the shop counter, Liu Liu’s mother listens to audiotapes to teach herself Hungarian. Bored and frustrated, Liu Liu goes in search of adventure. Exploring this new and foreign land, he encounters a mysterious monster.

Digitizing union newspapers in the quiet of a dark room, a filmmaker reflects on their relationship to labor.

Over 70 years ago, more than 2 million people from various provinces of mainland China went to Taiwan, including nearly 600,000 soldiers. These veterans were separated from their families for half a century, yet their belief in returning home never faded. After two years of searching, interviews, and on-site filming, the documentary film focuses on six Taiwanese veterans with different origins, backgrounds, and identities, using real footage to capture the heartfelt voices of the Taiwanese people. Bearing the pain of a lifetime, they held onto the memory of their blood ties with mainland China, courageously and resolutely declaring, "I want to return to the mainland."

Yin Honqiang, a master carpenter from Jiangyin, has been working with wood for over 50 years. Along with his son and his grandson, they create handcrafted pieces of furniture of the highest level, what lead them to be one of the most important furniture makers in all of China. Take a seat is a close look at their way of working while keeping the tradition alive throughout generations.

This is a story about youth with music. It all happens at the Dandelion School, Beijing’s first middle school specifically established for the children of migrant workers. Every year when new pupils arrive, Ms. Yuan Xiaoyan, who has worked in the school choir for eight years, would choose a group of music-loving first-years with solid musical foundations to join the choir. A new group of children join the choir while those who have advanced to the second year have to discuss with their families their future choices. For choir members, their music career in middle school will eventually stop due to the pressure of high school entrance examinations and the inevitable parting. But along this journey accompanied by music, they have been savoring the joys and sorrows of their youth, burying them deep in their hearts, and transforming them into growth-promoting nutrients.

This film delves into the secretive realm of a Chinese juvenile reform school, revealing its strict regulations and severe penalties. Despite the harsh environment, it offers a compassionate portrayal of troubled teens, showing how love and friendship can endure. At Peach Reform School, discipline is enforced through extreme measures, shaping and challenging the humanity of its students.

In this vulnerable documentary, the filmmaker captures how their family resorts to spiritual interventions in an attempt to rid them of their queer identity. The grandmother believes they must be possessed by a ‘demon girl’ – the unborn girl their mother was forced to abort before she became pregnant with Hao. Undergoing prayers, therapies, treatments and ceremonies, Hao paints a wry portrait of these complex relationships with admirable clarity and compassion.

This film is the first documentary to present a panoramic view of the arduous 14-year struggle of the Chinese people during the War of Resistance Against Japanese Aggression. It profoundly commemorates the great victory achieved by the Chinese people 80 years ago, after 14 years of relentless and bloody fighting, in defeating the vicious Japanese militarist aggressors.

An 11-month-old girl is adopted in China by white parents. 21 years later, that same girl, who is already an adult, reports how her eyes have become witnesses of hatred in a country that insists on saying that they are not racist.

Acclaimed director Hao Zhou journeys into one of China’s vast factories around the time of the pandemic to detail the impact of global supply chains and coercive business practices on workers’ lives.

In August 2022, a 59-year-old female truck driver set off alone from Xi'an to Aksu, to start the arduous transportation. She thought she could earn a big order as usual. But unexpectedly, the news of the destination’s lockdown began to spread on the first day on the road. Thus, she experienced an unpredictable week on the truck...

The film takes place against the backdrop of elderly care homes, kindergartens, the 219 Park, and various cityscapes. It portrays the urban ruins and inner turmoil caused by economic decline, and depicts the social contradictions arising from recession and the lingering effects of post-socialism, capturing the impact on the lives and values of people in the Northeast region of China.

As my elder sister Jiao awaits childbirth in a pink maternity ward, speculation and expectation from women of four generations in my family superimpose and collide with their physical throes and haunting memories.

In the most common family of four in China, we eat the New Year’s Eve dinner on the 30th of December, watch the Spring Festival Gala of the the Year of the dragon, all the splendor that once experienced in life must be paid back with loneliness.

A girl loses her sense of smell at a very young age. In a distant land, she meets an elderly woman who sells gardenia bracelets. In that faraway place, the girl recovers her ability to smell.

Nana Xu travels to the place built by her father as a prisoner during the Cultural Revolution: first a work camp, later a prison, fruit farm and treatment centre. Conversations with last remaining witnesses, where home is still shaped by a repressed past.

After bidding farewell to her career following an injury, National paragliding champion GU Ying journeys to the uninhabited areas of Hoh Xil on the Qinghai-Xizang Plateau to film wildlife. Over ten years of working deep on the plateau, she documents both the beauty and harshness of the land, capturing the conflict and coexistence between humans and wildlife. She also becomes a part of this land.

“Are you a man, or a woman?” In a world built on binaries, this is the question every trans soul must learn to answer—again and again. But imagine a future where bodies wither, yet minds ascend—consciousness can be uploaded to the cloud, and we could inhabit mechanised shells. In such a world, would gender still hold weight? Would it matter if you were man, woman, turtle or elephant?

Adi vividly remembers the moment his mom left home. He was four. She cut off a lock of her hair, tied a red thread around it, and walked out with a luggage bag. For 11 years, she didn’t return. Now fifteen, Adi resents his mother as much as he misses her. He roams the streets with a biker gang and pours his energy into streaming in drag on social media.

Auntie Hu in Chongqing makes a living by running an extremely low-priced small inn. Although her life is modest, she sometimes helps guests out of difficult situations. She also built a vibrant garden from discarded waste, using this poetic space to achieve self-redemption and comfort her ill son. The footage in the film spans nine years, authentically reflecting the spiritual world and life resilience of the mother and son.

Ma Yanwei, a master of ecology, and his wife Li Bei, a returnee, two sons, and a dog rented several hundred acres of land on the edge of the desert, hoping to improve the soil through ecological agriculture, slow down desertification, and protect the ecology. The arrival of the seagulls is like a mirror, but also like a sharp blade that pierces the bright moon that Yanwei raised for Li Bei over the long field in the sand sea.