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Poetry, literature, painting and old film clips converge in this lyrical, unusually designed film essay about Le Moulin, the Taiwanese poets’ collective which protested in the 1930s against the cultural superiority of the Japanese occupier and the domination of realism in poetry.

Hanzi is a documentary exploring international design, visual culture, and identity through the lens of modern Chinese typography. The film covers a variety of topics such as how languages shape identity, and what role handwriting plays in the digital age.

Is it possible that a group of people share our culture and fate, but are drifting in another part of the ocean? Taiwanese aboriginal musicians, Suming and Baobu, are invited to New Caledonia for a month of musical exchange. They lived with local Kanak musicians, playing music and sometimes composing together. In the end, they all found that the secret to innovation and globalization is to re-discover one’s own cultural roots.

Tsunma, an honorific term connoting “noble, delicate, and pure”, refers to the Tibetan Buddhist Nuns of the Himalayan Region who have been largely dismissed or forgotten by the traditions they follow and the societies they’ve served. Taiwanese photographer Lin Li-Fang undertook a solo journey up 4,270 meters into the Himalayan Plateau and lived for an entire summer with some of these nuns and recorded life in the unforgiving environment dubbed “The Roof of the World”. There, Li-fang captured a life devoted to hope and faith and a people possessing a unique kind of tolerance, humility, and perseverance. This is a story of the Nuns of the Himalayas, of seeing one’s life through theirs, that is, a life lived in faith and with the spark of a summer eternal.

A pioneer in Taiwan’s contemporary dance scene, Lo Man-fei receives a beautiful tribute from director En Chen, a decade after her passing. Three years in the making, Manfei traces the life and work of the dance legend, including her early days at the Cloud Gate Dance Theatre, her studies at New York’s most prestigious dance schools, and the founding of her Taipei Crossover Dance Company. Featuring rare footage of Lo’s graceful performances as well as candid conversations with her closest friends and collaborators, Manfei is a stirring journey into the heart of a true artist and a moving remembrance for a dearly missed member of the Taiwan art world.

HSU Tzu-chiang was pronounced guilty and sentenced to death in a 1995 kidnap and murder case despite the lack of forensic evidence. After a 16-year effort by NGOs, HSU was released with a life sentence in 2016. Now he continues to fight to prove his innocence. Director Chi has been documenting Hsu's story since 2012. The journey brought Chi face-to-face with the shortcomings of human society and inspired his investigation into why the judicial system failed HSU.

Yunlin, literally "the cloud forest", is named for its dense forest and cloudy landscape in past time. This wonderland relies mainly on agriculture and fishery. As the time passes, the forest gradually disappears but the beautiful cloud remains. The cloud forest looks the same in a different way.

Giraffe-like construction cranes are avid eaters. They forage around in the woods and fields for their feeds: the collective longing for development and prosperity. As they crane their necks longer, they make the fantasy of progress more alluring. And that is what Chung-Ming Wang steps forward to fight. Left his stable life behind, he devoted himself into local environmentalism in his hometown Tamsui(Danshui), tried to keep it distant from developmentalism that Taipei had been suffered for long. Few years later, he decided to change his way of political participation. This documentary film depicts his third attempt to run in the City Council Election in 2014, including the difficulties and conflicts he encounters and the diverse imaginations toward progress. The film also tries to brings up an important question: do we need more edifices in our city, or we need to find a way to edify ourselves?

This documentary turns the spotlight on an overlooked component of filmmaking: the art of foley through the perspective of Taiwan’s most experienced master, Hu Ding-yi. Hu has worked tirelessly for decades in his studio, manually recreating diegetic sounds (sounds whose source are visible on screen) using his large collection of everyday objects. Through the artisan’s eyes, Wang Wan-jo’s timely documentary looks back at the golden age of Taiwanese cinema and examines the new dynamics of the Greater China film industry. Hu received the Lifetime Achievement prize at the 2017 Golden Horse Awards.

Somewhere in Myanmar is a forest rich in amber and controlled by the Kachin Independence Army (KIA). Most of its inhabitants work in a mine, digging the earth night and days in the hope of finding the precious ore that will get them out of poverty. But on top of the excruciating hardship of the work, they also have to fear an attack from the army.

The story of two girls, Alice Zhang and Fan Chung Graham, who grew up together in Taiwan in the 60s and dreamt of pursuing math.

Every December to January, almost a hundred squid fishing boats from Ch'ien-chen Fishing Harbor in Kaohsiung will sail from East 120 to West 60 to work at Falkland Islands in the South West Atlantic. The sailing takes 35-40 days and crew members named it "waterway." January 1st, 2015, a 65 meter long, 11 meter wide fishing boat began its journey to Falkland island. This is a documentary about 60 crew members from south-east Asia to work far away from Taiwan.

After WU’s arrival in New Zealand, WU has been trying to take a photo of the starry night sky every day with his phone, whether or not it was clear. The star photos can be interpreted as diaries. Using a 16mm Bolex camera to film the stars frame by frame with long exposure. Exposure time was determined by the mind. These uneven pulsations of lights correspond to the starlight changing along with the thoughts that were at mind. This film documents WU’s everyday ritual of star-gazing with the related associations and inspirations and forms a meditative process.

Lin Huizong often drives north to see his wife, Xu Yu'e, at the Medical College of Fuzhou University. Xu Yu'e is a "dissection teacher", that is, a deceased person who donated his body to be used as anatomy class teaching materials. In Asia, which attaches great importance to the burial of the deceased's body, doing so often requires facing the reluctance of relatives. And what changes will this dedication bring to the family, teachers and students of the medical school? What does "alive" mean? When the end of life is not physical destruction, but the impact left on future generations, how will people decide the color of their lives?

In the past fifteen years, the Asian art market has exploded. Chinese collectors now spend more money in auction than Americans and Brits, while a new generation of Asian artists are reshaping the world’s artistic palate. My Dear Art depicts the wonders and absurdities of the Asian art market. From China, to Singapore to London, it profiles the artists, collectors, gallerists and experts who are changing the face of the art business forever and asks fundamental questions about the value and role of art in modern society.

CAFÉ TOGO looks at the efforts to change street names with colonial connotations in the so-called Afrikanisches Viertel (African Quarter) in Berlin-Wedding. According to Berlin’s street law, every street named after a person honors that person. Petersallee, Lüderitzstraße, and Nachtigalplatz bear the names of persons whose biographies are tainted by the blood of the victims of German colonialism. According to the law, streets that do not correspond to today’s understanding of democracy and human rights should be renamed.

One day I asked my aunts and uncles about my grandpa. They said Grandpa was a gold miner, a trainee, a businessman and a hero. The stories they told are so difficult to imagine.

In this documentary, 60 men living in 7 cities were interviewed to see what they were looking for, revealing their experiences of love, lust, and lost as gay people in modern times.

Kinmen is a group of islands governed by Taiwan and a solid base for the capitalist camp during the Cold War era. Kinmen commenced its construction of military fortifications in 1958, with millions of soldiers stationed on the island. As the USSR communist bloc gradually disintegrated, Kinmen began a large-scale withdrawal of troops in 1988, placing the lives of the island’s 50,000 residents in a predicament after having relied on soldiers to earn a living for so long. With the improvements of cross-strait relations, large amounts of Chinese tourists now flood the very islands they once rained countless bombs on. Tourists from both sides of the Taiwan Strait now take group photos in front of fortifications, but will the future of the cross-strait relations be as fine as the seemly peace?

Around one hundred million sharks are killed every year because of overfishing. Only roughly thirty of them can be saved, which gives them a survival rate of one in three million. In 2016, at a fishing port in Tatung County, Taiwan, two pregnant tiger sharks were caught by local fishermen, and 75 shark pups were rescued. An unprecedented release operation thus began. Related Clips

For more than two decades, internationally acclaimed artist Chen Chieh-jen has illuminated the deep impact of power on bodies and architecture. Here he explores a pair of sites built by the Japanese colonial government in the early 20th century: the Losheng Leprosy Sanatorium and the Taipei Prison. The first was on the outskirts of Taipei, the second in the heart of the city. Both were used for controlling marginal populations; both continued to operate long after the Japanese left; and both were eventually torn down for urban redevelopment. Across its four sections linking different times, places and people, Realm of Reverberations reveals cycles of construction and destruction, and the ironies of emotional attachment and historical detachment.-UCLAFilm&TV

The factories which were abandoned, the temporaries who were employed on a temporary basis, and the words were painted on the edge of the wall of the city. They were dirty humble but very strong, it reflects the real situation of "workers" in the social class. These factories, workers, and wall were utterly discarded after being used up, without any responsibility and affection. They were "relics" of the modern industrial process, and now left behind in the edge of the city and barren. We try to record the imminent disappearance of these graffiti walls, abandoned factories, are the temporary workers in an atypical way. Because of these images usually remind us that the city hides a group of incomplete consciousness and the body, they are in the search for a possible survival, a possible aesthetic, a desolate before the disappearance.

Five Taiwanese teenagers, faced with sweeping and untested educational reforms in 1996, revealed their dreams in the CommonWealth Magazine documentary "A Generation Freed." Their lives were then revisited in 2006 in the film "A Generation Freed - 10 Years Later" to see how the more liberal education system had affected them. Now, another decade later, we find out in "A Journey of 35" if indeed they were able to chase their dreams and if their horizons have grown brighter with adulthood or become more cynical.

In 1987, as Taiwan had just lifted martial law, society and the economy were undergoing rapid transformation, and Indigenous peoples faced a wave of urban migration and labor relocation. An Amis man Du-Ya Pan Ming-fu, his childhood friend Duwake, a Kavalan artist, and Lai-Sa-Gai-Nu Tian Acheng in Xiangbi Village, have different but intertwined lives. Though the three men were compelled by economic hardship to leave their homes, they did not bow to fate nor choose to remain in the city forever. In an era when Indigenous peoples were overlooked, they each steadfastly confronted their identity and cultural values, forging life paths that intertwined in unique ways.