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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 Taiwan's southernmost Manzhou Township, a group of local women—ordinary homemakers—transform into acclaimed folk artists when they pick up their moon guitars. The documentary Manzhou Ladies chronicles their lives, led by folk treasure Zhang Rigui, depicting their resilience in preserving local ballads across decades. Now, as young apprentices struggle with language and cultural gaps, the future of these timeless tunes hangs in the balance.
Little Red and Little Green stood on opposite sides of the street, tending to their traffic lights every day. As time went by, through countless glances and silent exchanges, they gradually fell for each other.
Growing is such a miserable illusion.
One ordinary day, a sudden visit disrupted the routine of the whole family. The youngest bunny, bursting with excitement and curiosity, bounced through the house—she simply couldn’t wait! However, when the mysterious visitor arrived, the once noisy house instantly fell silent.
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.
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.
As farmland vanishes and neighbors sell their land, one family faces the same fate. Through conversations with an elder left farming alone, the filmmaker explores the quiet struggle of letting go and the deep values rooted in the land, seeking to preserve something before it inevitably disappears.
A taiyupian co-starred Chang Di, Yang Li-hua and Kang Ding.
This silent footage documents the survey conducted between March and April 1937 (Showa 12) by Keitaro Miyamoto, Toru Ogawa, and Tadao Kano in the mountainous regions of southern Taiwan, home to the Paiwan people. Compiled and edited by the Attic Museum, the film includes intertitles and was completed as a finished work. The cinematographer was Keitaro Miyamoto.
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.
After meticulous planning, the Ergou Squad decided to carry out the robbery of a convenience store.
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.
In 2017, four bands from the Chinese mainland toured in Taiwan. It marks a historic moment in the cross-strait subcultural communication. The tour is the biggest underground rock event made by rock bands from the Chinese mainland in Taiwan. With the GT Bitches's tour as the main plot, the film is an interview of 10 punk bands, gig organizers,and music fans from the Chinese mainland and Taiwan. What is the punk cultural difference across the strait? The interview in the film might provide a partial answer…
Lumi, formerly homeless due to family issues and business failures, spends a decade in odd jobs, park benches, and internet cafes. Joining a social enterprise, he gains skills, saves money, and rents a place, but his past still haunts him.
Joe is a young woman who has left Taipei for Paris to forget her ex-girlfriend, Jenny. Unfortunately, even on the other side of the world, she still thinks about her. One day, Jenny's friend Min arrives in Paris. She brings Joe a present from Jenny. Jenny, who has rebuilt her life and recently got married. Joe and Min spend several days visiting the French capital, Min systematically forgetting to bring Joe the gift. When she finally thinks of him, Joe is left with a locked padlock and a missing Min...
Here, we feel the joy of saving lives and the sorrow of omnipresent death. Can we truly coexist with wildlife?
All and Nothing explores the intricate life of late conceptual artist Li Yuan-chia, tracing his journey from WWII-era China to Taiwan, 1950s Milan, Bologna, and Swinging Sixties London, culminating in his 1971 establishment of the L.Y.C. Museum & Gallery in rural Cumbria. The film captures his essence as a journeyman and artist.
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.
A man did obscene things to a bunch of shoes in a gay sauna.
Since 2020, Covid-19 has spread all over the world, and daily life has changed completely. No one knows what the future holds, and through every scene in this film, we hope to comfort each other and make us cherish what we have right now.
The woman died and became a skeleton. The man caught her by fishing. He was so scared that he ran away, but the hook was hooking each other, no one could get rid of anyone. This film is adapted from an Inuit fable. It is a metaphor of breakthrough the difficulty of love. True love begins when you are willing to face the skeleton.
Through conversations with his grandparents, the director uncovers family conflicts from 60 years ago and reflects on how life choices shape perspectives on aging and living. The film delves into the causes and consequences of choices, exploring themes of helplessness and resilience. Woven through memories, it reveals the complexities of life’s final stages and the pursuit of meaning.
The Stonewall riots were a series of spontaneous demonstrations by the LGBT+ community that began on June 28, 1969 in the Stonewall Inn, Greenwich Village. This was a turning point in the gay liberation movement and is often seen as the start of the modern fight for LGBT+ rights and freedoms in the United States. 50 years on, for many around the world this remains a dream. Filmed in Honduras, Zanzibar, Taiwan and England, the documentary provides unique access to the poignant personal stories of those facing challenges due to their sexuality or gender identity.
This exquisite black-and-white animated short poignantly explores a personal family story in an innovative fashion, and casts a nostalgic gaze at Taiwanese grassroots culture and history. David, a high school student in Taipei, has to finish a school assignment, which requires the students to conduct an oral interview with a senior family member. All his relatives live in the countryside far away from the city. Therefore, he urges his father to give him a ride to his grandfather’s. The two travel from the bustling city to a scenic small town in a rural area. While revisiting his hometown and childhood, his son’s simple assignment unexpectedly brings back precious memories, complex family history, and torrential tears for the father.
Graduate student Yi-wen gets on the wrong train and meets a former classmate from her past, Wei-chiang, who is now a university lecturer. The two alight together at the same station when they both find themselves having boarded the metro headed for the wrong direction. The two end up going to dinner and bumble about in awkward, fair-weather catching up when they both realise something about themselves that they have never openly admitted over the years.
Adju, originally means sisterhood and has also been used by the LGBTIQ+ community from the Taiwanese indigenous group Paiwan people to express their trans identity. Director Lu follows the musical journey of Mo-Fu, who identifies as Adju.
Care home resident, the blunt Mr. Tao secretly admires fellow resident, the elegant Ms. Pai. He finally plucks up the courage to write her a love letter, but it gets mischievously posted on the home’s bulletin board. Two other residents: Mr. Peng and Mr. Wang call each other “son” as a pet name. Mr. Peng misses his grandson whom he dares not see, while Mr. Wang frets over his terminal illness.
The grandma from the country seems to have magical superpowers. As time goes by, the boy gradually discovers...
The pandemic-born “emo rave”-categorised “Change, Reset ft. PRINCI” portrays how distressed human beings lean on their desire for intimacy and connection on chat apps, without any physical interaction. The personality-training AI chatbot app “Replika” and dating app “Tinder” specifically, became the inspiration for this music video. The First-Person point of view coupled with a “Pokémon GO”-like AR interface fills this journey with sorrow and uncertainty. As the story starts with a user (Sonia Calico) who refuses to update her AI chatbot (PRINCI), she desperately ventures to find the AI partner’s crystal avatar in limited time as the obsolete-version of the world around them starts to fall apart.
If the fire nearby is already hard to rescue; how can you extinguish the flames that last forever? What you can do is let them be, and try to find things left in the ashes.
The tastes of the audience change rapidly, and in the end they are trapped in this trap of human civilization, exhausted, and even forget who they are...
In the 1990s, foreign migrant workers began to occupy the Taiwanese workforce under the government’s new policy. Many indigenous labourers lost their jobs and were forced to return to their homelands, squeezing out a living on odd jobs, frustrated and powerless. Please Give Us a Job records their unheard voices against a backdrop of economic growth, and observes the rivalry and tension between foreign workers and indigenous workers.
In the Atayal mythology, the souls of the deceased arrive in Heaven by way of the rainbow, yet only the ones who have the traditional face tattoo would be welcomed by the Ancestral Spirits. Seeing the decline of this Atayal tradition, the filmmaker interviews tattooed tribal elders, capturing their longing for lost family, friends and homelands, as well as their feelings about their impending return to the rainbow.
Six o'clock in the morning was the time when Taiwan's executions of death row criminals was executed in the early years