Discover Movies

The story begins with the king’s mysterious Totem, drawing us into the world of the StarHerder. Through a fantastical journey, the secrets of the Totem will come to light.

This is a common phenomenon in Taiwanese daily life. Although it may seem funny, it's a regular occurrence in our daily news broadcasts.

An outlander tries to find the amulet that his mom gave him. During the searching, he steps on the journey that he has to face the mistakes he made from the past.

The "Wannsee Conference" recalls the Nazi meeting at Lake Wannsee deciding the Jews' fate. This work takes its title from that event to allude to powerful figures across eras who, though expressing different ideas, ultimately echo "Eve Clone," revealing shared ambitions. These figures are depicted as "Eve Clone," a Babylonian idol, revered yet marked by 666, combining evil and seduction, boasting before God while plotting ultimate schemes for humanity.

Built in 1969, this former staff quarters of the Taiwan Tobacco and Liquor Corporation bears witness to Chiayi's postwar housing development and urban memory. Today, its walls are cracked, concrete eroded, timber decayed, tiles shattered, and the entrance hall is entirely gone. Yet traces of past daily life still linger. Drawing on experimental methods, the film seeks to construct a visually dislocated narrative in which past and present coexist out of sync, offering an alternative perspective on the act of gazing.

The film replicates one of the 7cm Mountain Gun which were used during Japan's 'Pacification' campaign against Indigenous peoples. During this trip, Kao invites Atayal youth to return to the original mountain location shelled by Japanese police in 1906. They fire towards a distant hotel, now located on the site of a village once occupied by the Japanese. With a tone of playfulness and irony, the film subverts colonial aggression while exploring the possibilities of artistic action.

Taoyuan County Magistrate Wu Chih-yang continued to promote the Taoyuan Aerotropolis project despite strong disputes from social movement groups and local residents, leaving expropriated households in constant anxiety. On the day of the local chief election, the incumbent County Magistrate Wu Chih-yang lose the election, the residents were surprised and delighted. After experiencing this dramatic election of "voting with tears," the residents of the Anti-Aerotropolis Eviction Alliance decided to nominate Wang Pao-hsuan, Deputy Secretary-General of the Taiwan Association for Human Rights, who has long been involved in anti-eviction issues, to run for legislator to challenge the old political structure of the locality. However, during the campaign, in addition to encountering "external threats" from the original local political factions, the "young social movement activists" and "traditional villagers" in the team also had differences in their ideas about the campaign methods.

Receiving the news of his brother's death, A-Han, his mother and half-sister who had left home for a long time, meet at the mortuary. The past complicated family relationship has come up again.

Missing was made as part of a series of short films meant to combine poetry and imagery. Wu did not use a poem as inspiration. Instead, he turned a touching story he once taught his students into an animated fairy tale about a boy who runs off to India to catch mice, and finds himself farther and farther from home.

Is man the measure of all things? He can calculate, yet he cannot calculate; ultimately, he cannot calculate.

Directed by Lih-Kuei Chen, this film honours Professor Chiou’s legacy and traces his journey from early disillusionment under martial law in Taiwan, to formative years in the United States, and decades of community-based activism in Australia. Through interviews, archival footage, and his own writings, the film explores Cold War exile, the making of diasporic identity, and the small but powerful role of critical thought in shaping transnational Taiwanese democracy. More than a portrait of a single intellectual, the documentary reflects on broader dynamics of cultural resistance, diaspora diplomacy, and the political life of ideas beyond the Taiwan/China binary.

The Tiger God project originated during the artist’s residency at Cien Art Village in Hualien in 2021, inspired by a Sikawasay (Amis priest) who said a concrete tiger carried a soul. The work explores encounters between Han folk beliefs and Amis spiritual traditions, reflecting on suppressed indigenous histories in eastern Taiwan under colonial and religious forces. Nighttime fireworks symbolize external impacts on the land, linking concrete animals, mining, and colonial imagination. The ritual opera returns the footage to the land and gods, weaving ritual, research, and reflection into a narrative about silent objects and memory.

Joey believed happiness was lost forever—until you stumbled into her world through a diary while chasing butterflies. With Dusty, the dust spirit, you team up with Joey’s Shadow, using your own shadow to solve puzzles and face her deepest fears. Happy Shadow is an interactive journey through confusion, wonder, and healing.

My brother passed away in 2013 and my parents hold opposing beliefs about where he went after death. In search of answers, I turn to spiritual professionals, hoping they might offer real clues to the question: Where'd My Brother Go?

Immature is an animated documentary that explores the fluidity and complexity of gender identity through bodily imagery. Shaped by memory and imagination, it presents an intimate dialogue within the body. Fluid, fragmented, and ever-reforming, the film traces an ongoing journey of exploring gender, sexuality, and selfhood.

Rye Green Berry is a code for RGB. This film summons our memories of light and color through film screens. It then intentionally rewrites the slowly disappearing color worlds - historical paintings, vintage movies, videotapes - in digital space, transforming them into a new color palette. Taking its cue from Roland BARTHES' S/Z, the film overcodes found materials, liberates characters from their original stories and builds an operatic fable from their signifiers.

During Taiwan’s long colonization history, the difficult-to-survey mountainous areas, which were not described until late in the history of cartography, have been feared by some regimes as they hid rebels. Folded and wrinkled, they are the common “homeland” of people who have encountered diaspora due to the arrangements of regimes. After withdrawing from the tasks of extraction of resources and expansion of governance. It is a Zone that used to be inhabited by wild animals, Negrito people, the Truku tribe in search of hunting grounds, Japanese military explorers, soldiers evacuated from Myanmar who settled their colonies in the high mountains to reclaim and escaped migrant workers who had been displaced at current moment roaming here. Their ghost-like nomadism and migration have led to the drawing of a map of wandering within an area of Blank Zone.

The protagonists of the film are are siblings whose mother, Euis, gave up her dreams as a young girl due to financial difficulties and came to Taiwan to work as a migrant laborer before eventually marrying and settling down. Now, as the siblings’ dreams begin to take root, they navigate the cultures of Indonesia and Taiwan, transitioning from childhood to adolescence—a journey from which there is no turning back, marked by a unique cross-cultural experience of growing up.

Within families, emotions often weave a web—delicate, intricate, and inescapably entwined. This documentary delves into the depths of humanity, the cycle of life and death, love, the complexities of in-law relationships, and the awakening of female consciousness. It sheds light on the lives of the “women who remained,” revealing how they carry on after the passing of their husbands, facing the weight and trials of everyday life. Together, they weather the tides of joy and sorrow. No matter when impermanence arrives, they continue to find quiet direction amidst the rhythms of daily living—a quiet testament to the resilience that life itself holds.

Chia-Wei Hsu's video engages with the history of a tiny island off the coast of Matsu, which is situated in the Taiwan Strait. The island is under the commandment of a local god called the " Marshal Tie Jia," a frog deity. This deity originated from a temple on Wu-Yi Mountain in China, which was destroyed during the Cultural Revolution when the deity migrated to Matsu. In Hsu's work, the island is used as a stage. Employing the cinematographic device of the "green screen" - a generic background replaced in the post-production process with any other background image - Hsu places a fictional version of the original tiny temple on the island, which has long since been replaced by a dilapidated bunker.

A film by Lu Xiao Wei for Boiler Room—a documentary that delves into the story of FINAL, a groundbreaking club in Taipei that has redefined the city’s underground music scene. From dimly lit staircases to the dreamlike glow of neon, FINAL is more than just a venue—it’s a cultural movement. This is where boundaries are pushed, genres are reimagined, and self-expression takes center stage. Through the voices of its founders, DJs, and the wider creative community, the film explores how FINAL became a sanctuary for experimentation, a home for those seeking freedom beyond the mainstream. Shot entirely in Taipei, the film captures the raw energy of the city: its chaotic streets, intimate club spaces, and the relentless spirit of a scene that thrives against the odds. It’s a story of resilience, identity, and the power of music to bring people together, even in the face of challenges like the pandemic.

The anonymity on the Internet allows LGBTQIA people to interact without exposing their identities. It can be seen as a better 'rainbow utopia' than the real world. Three gay guys in this film also met each other in this way. In 2009, a battle between gay and straight on an online forum began and caused chaos.

Zhen Zhen and her single parent mother struggled with livelihood. They had a wish to own, a modest house that they could call home. In a Chinese calligraphy practice occasion, Zhen Zhen met Grandpa Liu, a lonely old man who then became her landlord-to-be by chance. Zhen Zhen started to reside at Grandpa Liu's house and became his finial protégée in Chinese calligraphy. Facilitated by internet communication, Zhen Zhen's help Grandpa Liu's homosexual son to return home and made reconciliation with Grandpa Liu to accept his alternative life. Zhen Zhen and her mother's wish of owning a house still floats in the air for the time being, but they persist to realize it with every little step they strive. The film talks about the true value of the family and the hope in which communication barriers amongst adults were bridged by a youngster's perspective. It is a heart smoothing story entailing how a child's innocence angle the web of complexity within a family.

Taiwan action film.

The Glory of Taiwan is a term whose emergence reveals an apparently paradoxical phenomenon. It insinuates that Taiwan had long been in a dark cave, undiscovered by any civilization in the world. It was not until the Portuguese exclamation “Ilha Formosa” that this island broke through the dense mist named this world and basked in the earliest glory of Taiwan. As the theme of Battle City 1 – The Glory of Taiwan elaborates the inferiority com- plex about Taiwan’s impotence. The society’s collective pursuit of success and superiority ultimately nullified its own existence, and a catastrophe known as The Glory of Taiwan ensues.

1964 Taiwanese drama. Winner of the Golden Horse Grant and Best Child Actor at the 3rd Golden Horse Awards.

Yujin, who comes from a traditional family, has an intense trauma related to heavy rain. As an adult, he has returned home to take care of his family, and the shadow has resurfaced. By depicting his inner journey of evasion when facing pain, the story brings out the complex emotions in family relationships, along with that indescribable love.

“Road to Human Rights” revisits Taiwan’s authoritarian past through the stories of four political prisoners during the nation’s White Terror era. The documentary resonates with viewers across generations, especially younger activists, who play a crucial role in effecting change in Taiwan’s politics and society.

A short film.

On the eve of Taiwan’s controversial referendum related to same-sex marriage, the world is crying for an outlet under the stiffing social atmosphere. Jie, a woman in her early 30s, is trying to balance her life between taking care of her ill mother in Taipei city, her aspiration as a substitute teacher in a rural county, and her lesbian identity. Her effort to earn recognition from her parents and from work falls apart after experiencing a major train derailment accident, followed by the death of her mother. Such life-changing events awaken her desires to break free from the status quo burdened by social and familial responsibilities to “fit in” and “impress”. She realizes she cannot fulfill her aspiration as an educator in the current education system and starts making peace with life of her own accord.

According to a 1969 newspaper report, a Taiwanese-language film based on the Western film "Tears of Autumn Frost" was decided to be titled "Where is Mother". The movie was directed by Chung Yi-woo and co-starred Jin Mei, Tian Ming, Zheng Xiaofen, Shi Ying, Ye Qing, Zhuang Li and Wu Fei Song.

Integrating home movies shot over six years of traveling with friends and lovers with postcards and flyers collected during past travels, Wu Chun-Hui takes us on a journey without end, a voyage searching for the origin of memory and infinite desire. Noah, Noah deals with relationships, distance, and memories, and turns the needs and desires that evolve from them into a cinematic experience. Trains departing, back roads roamed, navigating by water or air. It’s also about distance in filming, a distance from one image to another film roll, from one frame to another perforation, the distance from the real to the faded memory.

4 Children share a similar fate. Their fathers fish on the sea. Their mothers are of foreign origin. What are their inner worlds like?

The cat I don't own runs through windows between different spaces and times, and it disappears before finishing a sentence. Using outtakes and rushes (what "fur film" means in Mandarin) to redeem the affects in these images we produced for. The film is the first volume of an ongoing exchange diary project between Erica SHEU and Tzuan WU. From the filming exercises and hand processing from the very beginning, we collaborate and experiment with different workflows of audio and visual between Taiwan and USA.

The government's discriminatory policies, wars, profit-seeking politicians, and capitalistic exploitation forced indigenous peoples to leave ...

Now I understand that the more completely the dinosaurs were annihilated, the wider their domain extended. They not only controlled the forests that covered the continents, but also penetrated into the depths of human thought that remained on Earth. Starting from the ancient, fear and doubt inducing ancestors, they continuously stretched out their necks and raised their claws, expanding their domain.（Calvino "The Dinosaurs."）