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Descending from a long line of fishermen on the Yangtze River, Liu Gujun had to redefine his professional activity when the construction of the famous Three Gorges Dam began. His father, who has recently passed away, had to stop fishing the river due the growing pollution that the dam has created and asked his son to start cleaning the river. In the Chinese tradition of respect for the elder, Lui Gujon took the last wishes of his father very seriously. As such, he puts all his energy and invests every penny of his personal wealth into the ambitious project of cleaning up the river. For lack of sufficient grants from the government, Liu even contracts heavy loans to build a small flotilla of cleaning boats.

The documentary Building Archeology (jiànzhú kǎo) (2011) considers the more recent past. It’s made up of three vignettes about different buildings in Beijing: a museum, an abandoned hospital, and a detention center. The latter two vignettes are especially interesting. In the second, a woman wanders around the ruins of a hospital built in a week to deal with the 2003 SARS outbreak. The third concerns a former prisoner, tracing out a map of the detention center where he was held in 2011.

The story happened near the Shuangjing subway station in Beijing. The female stall owner was aggrieved by the selective enforcement of urban management and expressed that she would fight to the end for fairness. When the urban management team forced her to close, she burst into tears and complained of social injustice. Even in the urban management team, she had to ask for fairness. But in the face of institutional chaos, she finally chose to compromise and continue the cat and mouse game. The old man is a Christian, is he helpless in obedience to fate? How many people's melody played by the Huqin sounded in the smog of Beijing?

On an October evening in Beijing, thirteen people were invited for dinner: Miki (pansexual), Chao Xiaomi (queer), Xiaotie (pansexual), Celine (heterosexual), Pig Head Cat (queer), Male brother (LES), JOAN (LES), Qin Xianqiu (GAY), Hulusi (CD), Qiuqiu (transgender), Bobby (pansexual), An Shao (LES), Jin Zhaoli (transgender). They ate, drank and told eleven love stories about themselves that were funny, weird, savage, or full of humanity.

A top model is determined to win the national championship. However, things take a turn for the worse when she begins to receive death threats.

Li Wei captures the everyday lives of people in Inner Mongolia. Both Han and Mongolian people have lived for millennia across this magnificent expanse. But the traditional nomadic lifestyle has been deeply influenced by the impact of modernisation. Some herders do not live in yurts anymore—instead, they have settled in towns. Some young people would rather dress more fashionably, and only old Mongolian people wear traditional Mongolian clothing.

She is young. She has a son. She falls in love with a married man. Between family and love, there is no way to go.

He likes to invent and create, and he wants to be recognized by Grandpa Rabbit, but every experiment always ends in an oolong failure. In order to prove himself, Chuangtangtu decided to conduct a bold experiment and develop a physical conveyor.

Hu Jie is a prodigious independent Chinese filmmaker who has produced and directed thirty or so documentaries. Also a master of wood engraving, Hu Jie breathes new life into the expressionist tradition of Käthe Kollwitz. In his works — including those produced in Paris for this film — Hu Jie recreates terrifying moments of organized crimes against the Chinese people during the famine of the “Great Leap Forward” and the “Cultural Revolution”. Bertrand Renaudineau’s and Gérard da Silva’s film offers Hu Jie his first chance to tell how he was a wood engraver before becoming a filmmaker; how, he freed the “soul of a young martyr”; and how his prints and documentaries have helped convey the experiences of the Chinese to people all around the world. (René Viénet)

A 17th-century folk tale about four thieves trying to survive in a corrupt world during the Song Dynasty (10th-13th century) is the unusual source material for this blinding debut. The timeless sources that director Ma Lanhua mines also comprise French comedy, Chinese opera and contemporary (performance) art. Ma also utilises cinema's history, particularly the early, silent era with title cards, colours reminiscent of hand-coloured films and special effects from the arsenal of film pioneer Georges Meliès.

Two young Chinese whose lives intersect in Los Angeles at the crossroads of their lives.

The military dependents' village is a special historical product of Taiwan. Contained the cultural identity in its unique space. Now, as the years change, we will once again witness the new occupants built up a new life aesthetic along with the process of the repair and relocation. In the interaction between old and new, continue and innovate the life style and life memory of the village.

In a high-rise private estate, a girl sits precariously on a ledge but nobody knows why. Inspired by recent events of foreign domestic helpers in Singapore taking their own lives.

2011 short film by Doris Chin-Yan Wong

A pawnshop offers a special Deal, in Exchange for Love, friendship, family, etc. you can get anything you want. Three people make these deals, but will they be truly happier afterwards.

For years he has stayed behind closed doors without leaving his home, uttering nothing to anyone. The desire to communicate and the energy to act have completely vanished, and the opportunity to change is dim and distant. This is an attempt by the filmmaker to reappraise the relationship between himself and the world through external observation and self-reflection.

Because of handling cases involving forced eviction, religion and freedom of expression, Beijing Bureau of Justice prepared to revoke the lawyers' licenses of human rights lawyers Tang Jitian and Liu Wei. On April 22, 2010, the hearing for the revocation of their licenses was held at the office of the Beijing Bureau of Justice. This marked the beginning of a new round of suppression of human rights lawyers. In recent years, the situation regarding human rights lawyers have worsened. They have been sentenced, sent to Re-education through Labor camps, harassed, kidnapped, followed and beaten, and these malignant events are occurring frequently. As voices of the vulnerable, their channels for fighting for justice have been blocked one after the other.

This documentary, filmed from 2006 to 2015, captures how Yuan Sheng Fang organized and relied on folk artists from Yunnan's rural areas to explore and navigate the challenging path of cultural self-rescue and preservation amidst the impacts of China's economic boom and their own financial shortages.

With temperatures falling as low as minus 40ºC on the Tibetan plateau, yak dung is a valuable heating source for Tibetan herdsmen. Filmmaker Dhazey Golog explores how this essential resource provides everything from heat and light, to toys and Buddhist figurines.

Chen Qiu's investment met with a friend's deceit and betrayal, and she had no choice but to rent a room to earn living expenses. The tenant Shi Ran walked into her life, and Shi Ran's concern and enthusiasm gradually melted the ice in Chen Qiu's heart.

UNDER THE RED MOUNTAIN: CHIFENG AND FURTHER NORTH documents a hitchhiked, trained and walked journey from Shanghai to the city of Chifeng and then from there, further north into Mongolia. Shot during the middle of winter, the film connects the decrease in the temperature with the increasing isolation and militarisation of the places, spaces and people of China and its “autonomous regions”.

A documentary about small-town youth in Kunshan. They are lonely, worn down, helpless, deceived, marked by searing imprints. They keep trying, striving, struggling, and refusing to give in, their faint light rising like a pillar. Through multiple dimensions and layers, the film deconstructs this group of small-town young people who have come to the city for work: why they came, their work experiences, emotional lives, future plans, and hopes. Note: This film strictly records and objectively presents the lives of these young people. Due to the particularity of the subjects and technical limitations, the image quality and overall texture of the film are relatively rough.