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One major focus of philosophical inquiry has been: how can individuals determine that their existence is not an illusion? However, for those enduring chronic immune diseases, reliance on life might paradoxically hinge on whether the pain is merely a dream. Inspired by the concept of khan-bông(a traditional taiwanese ritual) likening immune diseases to a prolonged battle against one's own body, the spirits of those who die in this war revisit fragments of their memories to re-examine and explore how life and existence coexist and find balance amid perpetual flux and instability.

Since the seventeenth century, Taiwan’s indigenous peoples have endured waves of colonisation until they were finally left with almost no land of their own. The 1984 formation of the Association for Taiwanese Indigenous Rights launched the struggle to regain their rights and initiated the ‘Return Our Land’ movement. This film documents the march on 27 September 1989.

Hura is ready to leave her boyfriend for good. On her way out the door, she discovers a 30 foot penis chaining her to her soon-to-be ex.

In the short span of half a century after World War II, the remote island of Kinmen has witnessed numerous battles. Its people once supported the national army, enduring the battles and gunfire. Today, memories have faded, and those who personally experienced the fires of war, the Kinmen residents who walked through fearful and sorrowful times, are gradually passing away. For the post-war new generation, the memories of billowing smoke may be fading, but the island's shadows have never disappeared.

A runaway tomb on its journey represents a nomadic existence. Life is like a road trip that eventually leads to rebirth for all. Have a good death.

Taiwan’s Central Mountain Range features 138 peaks with altitudes exceeding 3,000m, stretching over 300 km from north to south. KU Ming-cheng and CHOU Ching, two trail runners with very different temperaments and a 30-year age gap, spend three years training and exploring with the aim of traversing the Central Mountain Range on foot. This documentary captures their record-breaking eight-day, 16-hour feat from the very beginning, traversing self-doubt and disagreements, to finally achieving their goal, every step resembling a peak of life marked by unwavering determination.

Wedding, a big event. It took place during lucky hours, following traditional conventions until the daughter left the house and female family members got in. People involved then happily raised their cup and said, "Congratulations! Wish you a destined good affinity, a marital happiness, a soon-born offspring, a harmonious union for a hundred years, blessed and felicitous." "Thank you!" replied the female family members, with smiles.

Inspired by the diaries left by Miao-jin QIU (1969–1995), Taiwan’s most renowned lesbian writer, the story begins with twenty-four hours in the life of Mai, a young expatriate writer. She shuts herself in her apartment while writing the last chapter of her novel Last Words.

Jiang brings Yang Yi around as they hang out together. In the last year of middle school, Jiang transfers. Yang remembers vividly the day before the summer break, when they share a memorable afternoon in the bright sun and heavy downpour.

He is going back to Hong Kong. He wanders in the city, meets with his friends. This is his last day in Taipei, where he has complicated feelings for.

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.

Sometimes you are the only one that can really see what’s out there.

Sometimes forces greater than the grid forces their way in.

A short film that has a purely core and talks about memory.

A woman publicly searches for a husband, a gesture that exposes the bureaucracy of belonging—where geopolitics becomes paperwork, and a husband becomes the condition for home.

Depicts a natural world in the digital age. In this world, water no longer flows in the familiar way but drifts gently like silk. The clouds in the sky emit a soft glow, reminiscent of fireflies dancing at night. The trees change their geometric forms with the seasons, displaying sharp, angular lines at times and soft, rounded curves at others.

When words pass from one person to another, whose do they become? Revisiting a post-war plague on Quemoy, memories of a survivor gather drifting fragments: a 16mm travelogue, charcoal drawings, electronic sound, and spoken testimony, forming a layered meditation on transmission and the unstable ownership of stories.

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.

A young, indefatigable office worker deals with an overwhelming workload. After all, he faints and falls beside a pile of trash on the street and accidentally meets a lazy, alcoholic street child who is living in the pile of trash. They stare at each other. The film raises a question: which one exactly do we drink? Coffee or caffeine, whisky or alcohol?

An outcast chick teams up with a boy who shares the same name to defeat a plot to infect the world with a virus.

A sculptor with Alzheimer’s goes on a self-healing voyage on the river Lethe after his death, experiencing a cycle of remembering and forgetting as he seeks the memories of himself and his daughter.

Marriage, in addition to the physical and emotional connection between two people, also implies the inheritance of history and nation, the suppression of political consciousness, folk culture and the symbolism of life and death, like a bizarre drama played out in the ruins of a military camp.

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

Abishag is an Indonesian Muslim who tries to make a living in Taiwan. Her job is to look after an old man aboned by his own family. The old man locks himself, Abishag, in his own confined space, watches porn films all day long, trying to feel alive again. Abishag is not used to her work; it requires intimate contacts when doing diaper changing jobs, which makes her very uncomfortable, let alone her religious belief rules the opposite. No one can escape from death; the old man knows it. He tries to feel the energy of life from Abishag but fails in attempt. Day after day, these two reluctant persons manage to constrain their sadness, but the pressure is about to explode. Love may be the best present for the old man, but who is willing to offer that to him? Is Abishag able, willing to give?

In spring 2021, after a 30-year hiatus, Taiwanese music avant-garde Blacklist Production reunited four veteran musicians and 63-year-old Paiwan chieftain Ngerenger Darusakiv as lead vocalist to blend indigenous Old Tunes with Western blues. They rehearsed under the pandemic’s shadow, navigating through difficulties and confusion. Each note became a fragment of memory, with the ancestral spirit lingering in the melodies. How would they find their way home?

Graduating in Taipei, Zhang Xiao is soon returning to Shanghai. She and her boyfriend have parted ways, but keep their silence—a long night of hotpot, ice cream, and wandering with friends; a long farewell sealed softly into memory.

Lin Dongliang leads the three-year "Marine Oasis" project, researching spinner and pantropical spotted dolphins. The team aims to secure IMMA designation from IUCN for enhanced conservation. A documentary follows their efforts, exploring their motivations and challenges, highlighting humanity's complex relationship with the ocean.

This is a tale of tomatoes and desire: In the 17th century, tomatoes were feared as poisonous across Europe. It wasn’t until a French painter dared to face death that the world was finally able to taste the tomato’s beauty. After twelve hours of anxiety and fear, the painter emerged not only unharmed but found the flavor of the tomato exquisite, his appetite awakened. One evening, a woman prepared a delightful dish of tomato pasta with red sauce, waiting in both anxiety and anticipation for the return of a man.

Maciated and exhausted girls are trapped in a dark dungeon, where they are repeatedly subjected to the violence of a terrifying creature. Through mutual support, they search for a way to escape, only to realize that the companions who helped them along the way were, in fact, reflections of themselves.

This documentary is all about nationality, race, identity, trust, culture, and media contact between Taiwan and China, and the chaotic mind-changing of the author during the shooting. The team interviewed some young people who were born in the early 80’s, and conducted various questionnaires in order to find out how the new generation in Taiwan is thinking about this ambiguous political situation, and even how they think it should be solved. The most important and remaining question is about to be answered…or will it?

Waiting. Waiting for the train. Fuzhou Station.

According to Yomota Inuhiko's What is Japanese Cinema?, this is the first film produced by a Taiwanese person in Taiwan (circa 1925).

This is a story about a group of losers. In the real world, they are men without a sense of achievement, and in their boring lives, they choose to step into the wrestling ring, playing terrifying and dangerous roles. In the ring world, their twisted values turn them into villains. Amid scattered applause, they stand on the wrestling ring, searching for their final dignity in that moment.