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

After receiving devastating news, a mother and daughter must process their new reality and relationship with each other.

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.

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?

When a filmmaker learns that his family’s traditional Chinese courtyard house in Taiwan will be partially demolished to pay off debts, he begins documenting the loss, only to be drawn into filming a politician’s campaign. The project evolves into a deeply personal exploration of exile, non-belonging, and the identity of the Taiwanese diaspora returning home. Weaving childhood nostalgia, political propaganda, and the brutal destruction of his family home through Lacan’s registers of the Real, Symbolic, and Imaginary, the film reflects on memory, loss, and the longing for a voice. Anchored by demolition footage and the nostalgic pop song "Red Dragonfly," The Politician, the Demolition & the Dump Truck asks: Can the Taiwanese diaspora truly belong, and can their voices ever be heard?

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.

Wang Rongyu, founder of Golden Bough Theatre (1993), creates deeply local Taiwanese productions. His works, like "Stage in the Rain," blend folk opera traditions into original musicals, earning acclaim as quintessential "Tai-Ke theater." Overcoming a 2008 crisis, the troupe now completes its 300th outreach performance, touring across Taiwan.

In the hotel room, a girl is lying next to another girl. She walks to the bathroom and seems to be talking to someone else. Is she mentally disturbed, or is there another conspiracy?

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.

Mr. Lin Song-ji, an Amis man from Hualien, lived a life that mirrors Taiwan’s history. His father was of Japanese descent. As a young man, he was forced to leave his homeland when the government pushed a forestry plan. He moved to the city to survive and spent years working as a driver, which kept him from forming a deep bond with his children. The home he built with his life’s effort now faces demolition due to urban development. His descendants cannot return to the mountains and struggle to survive in the city. Yet, they remain distant from him. In the end, he is left alone.

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.

A woman from Chiang Mai speaks in Thai, Mandarin, and Yunnanese. That is the voice I am the most familiar with, the one I first sensed and heard from within her womb. It is also my mother tongue. I chat with my mother about her family of origin and childhood memories. When we are not talking, I wander around the house, touching light and air. Those scents and traces of where my mother resides, along with the fleeting images of her presence, are my intimate gaze of her.

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.

People live. Fractions of life continue to happen every single second. Kinds of relationship embody the individuals' hearts.

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.

[thóo-kong-á] is a stop-motion short film centered on the Taiwanese tradition of “bone collecting.” The story follows a boy who was raised by his grandfather, a professional bone collector. Since childhood, he was often asked to help with the ritual, though he never understood its meaning — only finding it exhausting and unpleasant. But through repeated experiences, he gradually comes to see that bone collecting isn’t something taboo — it is a gentle, meaningful practice. It’s a way for the living to say a proper farewell to the dead. In the end, with newfound understanding and respect, he personally performs the final bone collecting for his grandfather.

The story of an unlikely friendship between Chief Aliman of the Bunun clan (Taiwan's Aborigines) and Japanese anthropologist MORI Ushinosuke during the Japanese occupation of Taiwan. The immersive experience leads viewers along the path of these two extraordinary characters, revealing the deep mutual respect they shared for Jade Mountain – and how it forged their lasting bond.

It was not just a blazing forest fire, but embers clinging together only for survival... The short film is about the intimate relationship between two young girls. Yet the bond they treasured was veiled under an indescribable shadow…

This is a story about the soul’s farewell. Inspired by children whose lives have ended and the words they wish to say to their mothers, contemplates whether they continue to exist somewhere, quietly experiencing and observing the world.

It is a story about family relationships and alienation. A man who had been away from home for many years boarded a train and once again walked the familiar streets. He encountered his brother, the only one left at home, and the accumulated conflicts intertwined with his memories.

Ah Wei, a taxi driver worn down by years of caring for his seriously sick wife, is urged one night to return to work. Hoping for a brief respite, he starts up the taxi he hasn't driven in a long time, but soon finds himself caught in a night he never expected.

This footage is a record of Katsumi Komatsu’s visit to urban and rural areas in Taiwan, specifically Taipei and Tainan, in April 1936 (Showa 11), conducted as a preliminary survey for the comprehensive research project by the Attic Museum. The footage is silent.

Formosa depicts the landscapes, architecture, customs, culture, agriculture, natural scenery, Indigenous peoples, and colonial traces of Taiwan during the period of Japanese rule. It also reflects how the world at that time perceived and imagined Taiwan. This film is the earliest known surviving motion picture shot in and about Taiwan. This introductory documentary was donated as a duplicate print by the Netherlands Filmmuseum (now Eye Filmmuseum) in 1991. According to the museum’s records, the nitrate print dates to approximately 1922. However, based on the research of scholar Lee Daw-ming, the film may have been shot as early as 1917 by Herford T. Cowling. The exact date when the original positive film was produced and its subsequent whereabouts remain unknown. Formosa is preserved and presented by the Taiwan Film & Audiovisual Institute in 2025.

Colt is obsessed with the rock band Speedy's Overdrive, to the point of hallucinating conversations with its frontman, Speedy. When he unexpectedly wins a contest to meet his idol, his excitement turns into inner conflict, forcing him to choose between his dream and his friends. As the long-awaited day arrives, Colt finally comes face to face with Speedy, but the encounter doesn’t go as he imagined, leading him to question everything he once believed.

In Taiwan, there is a group of clown artists whose stage is not in a theater, but in hospitals. They are not doctors, yet they bring healing through physical theater performances. These “clown doctors,” with their signature red noses, bring laughter and music into the cold, clinical environment of hospitals, offering moments of relief and emotional comfort to patients, families, and healthcare workers alike.

After meticulous planning, the Ergou Squad decided to carry out the robbery of a convenience store.

In Cute Syndrome Town, residents trade with the Cute Virus for adorable looks, gaining shallow, fake happiness. Jane tries to restore their true selves, only to learn reality is more complex than she thought.

The protagonist abandoned his dreams of the past due to an accident, and the trauma made him afraid for a long time to confront the things he once loved. It wasn't until middle age that a fortuitous event allowed him to face his true feelings again.

The soldier's written words breathe life into the desolate and shell-covered Tong-Sha Island, transforming it into a vivid landscape. It's a place where many men seem symbolically bound, unvisited yet too precious to forsake.

Besides exploring complex student relationships, family dynamics, and gender-based violence, the film reflects the director’s perspective as a teacher, subtly expressing anxiety and lament over the loss of innocence in the harsh realities of modern youth.

A 1959 film in Taiwanese Hokkien, featuring Koa-á-hì (traditional Taiwanese opera).

A long-term research project that focuses on the haunted rumors and supernatural experiences in the exhibition space itself, as well as the color light, space, narrative elements and audio-visual arrangement technology behind this experience. By collecting the supernatural events that artists and audiences encountered during the exhibition, and describing the heterogeneous exhibition perceptions of special audiences, we imagine a multi-ontological approach to artistic practice and exhibition.

An award-winning documentary short by Taiwan Film Studio in 1964.

Adopted by a Dutch family, a young woman has struggled not to feel like a stranger in a country so far from her birthplace, Taipei, and has always longed for a place to feel truly at home. With this desire, she embarks to Taipei on a journey of self-discovery.