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A woman goes on nightly trips, in search of someone who has departed. One night, she has an unusual encounter. This film delicately explores cultural differences and the universality of the unspeakable grief, from Taiwan to Sweden.
In the Amis language, a moment signifies peace and a sense of ‘home’ when the ocean calms. This metaphorically relates to the journey of a group of Amis people who left their coastal homes in the 1970s for city work. In Taipei, they established the “Xizhou Tribe” near a riverbank, contributing to urban development but ultimately facing displacement. This dichotomy highlights the choices they made: some stayed in cities, while others returned to ancestral lands. Decades later, as they completed new houses, their story reflects a deeper narrative of indigenous urbanization—a crossroads of starting anew or enduring broken connections with their past and identity.
A glorified childhood memory: a crispy dessert with a hole in the middle, seen in a Japanese cartoon. The mother corrects: It was a soft doughnut. This cognitive distortion inspired this film, which challenges the boundaries of subjective perception. Images and sounds mix and overlap. Street noise, excerpts of faces, snippets of interviews. Only the people's answers are visible, the questions remain hidden. Once you think about it, consciousness piles up.
A ruined wedding photo sparks a journey through Taiwan’s iconic pre-wedding photographers—uncovering stories of fantasy, rebellion, and pain, and leading to a deeper reflection on femininity, absence, and the unreachable idea of perfection.
In a dystopian future, exiled Kung Fu master Big Sister 13 leads a gang of trans and queer fighters who reclaim a forgotten zone and transform it into the Martial Forest—a secret training ground where care is as powerful as combat. Together, they fight to survive rising violence and build a future rooted in chosen family and trans resistance.
Set in the Taoyuan Aerotropolis expropriation zone, this film traces a home that no longer belongs to us. Before relocation, my mother passed away—her “too late” compelled me to return and document what remains. Through father–daughter dialogue and acts of creation, the film records landscapes on the verge of disappearance, and the fragile traces of “home” that persist in the struggle against erasure.
A group of elderly living alone in damp, dim underground dwellings in Taipei. They take care of themselves and form a community . They come out of the underground dwellings , searching for comfort and happiness in the city. At night, they return to the dwellings neglected by the city.
“It Must Be” is a collaborative project between the filmmaker and his girlfriend, documenting their everyday life as international graduate students. Through the use of a handheld DV camcorder, they each film the shared spaces they inhabit, gradually exploring and redefining their understanding of “home.” The work also serves as a reflective summary of the filmmaker’s three years in graduate school.
For 23 years, Hu has served as an interpreter in Taiwan, assisting over a thousand migrant workers and new residents. This film highlights how interpreters support law enforcement, ensuring justice and protecting linguistic minorities in a system once lacking proper translation for foreign-related cases.
A grieving teenage girl embarks on a moonlit scooter journey with a stranger. As memories and doubts surface, they navigate night streets together, searching for answers about her past, present, and future.
A taiyupian co-starred Chang Di, Yang Li-hua and Kang Ding.
During the Chinese Civil War, Taiwan was seen as the terminal destination for a unit fleeing themainland. However, while crossing the Sino-Vietnamese border, they were detained on an islandcalled “Phú Quốc” by the French authorities, who were colonizing Vietnam at that time. Unawareof how long this temporary detention would last, they began transforming this primitive island into abase for a future counterattack on the mainland. Four years later, they finally managed to sail to Tai-wan — an island they had never been to but regarded as their homeland. Years later, in Kaohsiung’s Chengcing Lake, there is also an artificial island named “Phú Quốc” built to commemorate this unit,effectively becoming Phú Quốc 2.0.
The director’s relationship with their mother was severed in the past due to their sexual orientation. In 2023, after the mother was diagnosed with cancer, the two reconnected. Through intimate moments with their partner, the director contrasts the closeness of their relationship with the emotional distance from their family. Struggling with both their identity as a queer person and as a daughter, the director uses the metaphor of a "Viewfinder" to capture the complex emotions between them.
The body serves as a vessel that stores self-awareness.
A butterfly yearns for distance, a caterpillar seeks comfort. Their park life begins to change as a strange structure expands.
An island, isolated yet sovereign, where humans and nature coexist between the ebb and flow of the tides — rising and falling, supporting one another in quiet balance. Through the beauty and sorrow of an island, we reflect on the gendered dynamics of power in contemporary island life. What does it truly mean to live freely? And how do we know which choices in life are the right ones?
A boy named Ting-an experiences trouble at home and bullying at school. Out of fear, he forces himself to hide his feelings from others. The only thing that still interests him is a pet zebrafish he keeps in his room. On the eve of presenting his school report, Ting-an is about to overcome his fears — he just doesn’t know it yet.
The Taiwanese Hokkien film released in 1959
Veterinarian Yu-Husan Lin originally majored in forestry in college. After graduation, she decided to retake the college entrance exam to pursue her dream of becoming an veterinarian. She successfully got into the Department of Veterinary Medicine at National Pingtung University of Science and Technology, realizing her aspiration to care for animals, especially wildlife.
Discuss the rarely-noticed headless corpses and their emotions as victims of history under the issue of justice in the transformation of Aboriginal history, and use headless ghosts as objects of historical compilation to reflect on the over-ethicalization of recent historical writing and ghost discussions. Those on the margins of history, and the imagination of ethnic groups endowed with excessive integrity.
The Separate Customs Territory of Taiwan, Penghu, Kinmen, and Matsu as an economic entity is one of Taiwan’s internationally recognized identities nowadays. Revolving around the economic miracle, Battle City 2 – Economic Miracle depicts Taiwan as a mandate whose reconstruction has been entrusted to the JJ Corporation by the United Nations in the form of BOT (build-operate-transfer) after the nuclear disaster known as The Glory of Taiwan, and the JJ Corporation plans to transform Taiwan into “New Formosa,” a special economic zone for foreign exchange earnings. In this story, the investors also call the “New Formosa” an “economic farm” in the sense of a farming concentration camp, where Formosans are kept as economic animals intend- ed to offer services of all stripes for the investors.
A big cock go-go boy, a she-male hooker, and a couple of lesbians making out in a seedy men’s room set the stage for a debate on Taiwanese independence.
Taiwanese children between 4 and 8 years old talk about their views on surrendering to China.
The Taiwanese philosopher-filmmaker James T. Hong (*1972) work: “Three Arguments about the Opium-War” (2015) is an inquiry into the competing narratives and contradictory logics embedded into what constitutes “history”. The dual-channel film juxtaposes footage of sites from the historical Opium Wars with contemporary views of Hong Kong’s harbor and cityscape. Each channel is accompanied by textual components: the war sites are overlaid with distanced narration describing how certain socio-political conditions pave the way for colonization, as well as the impossibility of any population having the same uniform political views. The recent Hong Kong footage features text justifying the British colonization of China, focusing on opium as a fitting punishment for perceived Chinese transgressions.
When fishing at sea, he always glimpses Guishan Island. Childhood memories and the villagers' distinct qualities were buried there during the village’s relocation. 'Now, we hide our homesickness in dreams'. Witnessing the island's tourism deeply affects displaced islanders.
Seven frames, seven episodes of one visual journey. A silent film explores the space between language, body and identity during the time of isolation. It is the second film from photographer / mixed-media artist turned Shantel Liao, and the first film made completely independently as a personal project.
At Reincarnation Agency, a detective, who died when he was about to crack a case, met the case's victims. After learning about new clues provided by the victims, the detective barged back to present life, but only to discover that he was rebirthed onto a strawberry donut.
Young Mao-Di spends his whole nights sitting at a computer tweaking digital photographs. One day, he meets the girl of his dreams on the metro. follows her and finds out that she lives across the street. the next day, he is followed by an older man, who lives in the same house as the girl. Mao-Di sets out to discover who the two are.