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An unreleased documentary by Chinese filmmaker Kang Jianning, the film interweaves the recollections of academic Fan Xiuzhang—particularly his political ordeals in the 1950s and ’60s—with the sweeping arc of the Mao era and its procession of violent political campaigns. Its structure becomes a form of critique, juxtaposing individual agency against a regime that demanded absolute loyalty and the erasure of the self in service of the state.

Wang Fen’s father is a small-time railway bureaucrat who’s had many extramarital affairs; her mother claims not to have a single good memory of her married life with him. Funny how a 30-year-marriage can sound so different when described by separate parties in separate interviews. Wang captures her parents’ broken marriage with a carefree, humorous yet somehow also critical perspective, lacing her film with pop music from their generation.

Li Yifan’s documentary chronicles, with a fiercely analytical eye, one year in the life of Longwang village, a typically poor farming village located near Chongqing, China.

《Love Is Not a Sin》is a genuine Macanese film made by a local director Chan Kin Tak. The film is an exuberantly bizarre tale about two teenage girls who have so such affections to each other. However, a hidden camera finally destroys their fancy as the recorded contents unveil a possible truth that one of them is probably a male. The director has skillfully shown a dramatic shift of mood through the use of his cameras, from an atmosphere of exuberant teenage joy to a lost in one’s own sentiments. He has also blended several elements into his plot, such as the innocence of youth, some soap materials and a sense of horror. This definitely wakes up the sensations of its audience. And a mysterious male voice narration throughout the film always keeps people puzzled about the truth.

Twenty plus classmates look back into the past, tracing back through a 30 year history. One after another adapts to the random events that come to shape their lives, to the four seasons of life and nature. The years they were about experience coincided with the reforms and opening up of China. Floating in the changes of the new era, some experience compromises and the loss of ideals, whilst some keep struggling ahead with great determination. Thirty years later, Lin Xin encounters his old classmates, and records their individual lives and history; the ease of monotony, the loneliness of success, the weariness of a life of plentiful, the helplessness of poverty... all come forth in the lives of these group of people, becoming an epitome of the lives of ordinary people in small to middle-sized cities in this era, and at the same time reflecting on a generation that advances forward undefeated.

12-year-old Baheila lives with her family of nomadic shepherds in the Xinjiang province in Western China. Their tradition is to move with all their belongings. They have no eletricity at all. They regard their simple lives like the snow flakes coming to the earth and disappearing somewhere.

Chain Reaction is a kind of independent thinking itself. Since everyone has his or her own experience and values, I call the world of Chain Reaction “a view of schizophrenia”. Most of the images of the video surpass, as well as imitate daily life experience absurdly. The film is to analyze and oppose evil by the way of using the power of evil inside human nature. Chain Reaction is an allegory of evil but without the function of salvation like the other allegories.

An elderly woman decides when to reveal her decision about the inheritance after her passing.

This film is an observation of the public space of the areas that link the city and village. It tries to show the great changes of this age. Because of the rapid change of land ownership, the relationship between men and the environment is changed also. Furthermore, the film tries to capture the vivid expressions and appearances of the people in this public space.

In northern Shaanxi, those three-wheeled trucks who came to the city from rural areas came to be suffering. They talked hard and finally sent their children to distant universities. Four years have passed, the big children can't find a job, the future is uncertain, the smaller children have come to the age of the university. It seems to be in the instinct, a family is still like a hen hatch, waiting for the new hope to break out.

This film describes the life of some ordinary people in a small town in southern China. Among them, there is a guy just graduated from a college, a businessman, a government office worker, etc.. Although it is said that the country advances triumphantly and the economy develops rapidly, these ordinary people are in a miserable state. Because it is a time of money, they are dreaming of getting it as much as they can to change their poor fate, which seems impossible for them forever.

One hundred years ago, Dongjiadu was just the wharf at the Shanghai's Huangpu river bank. There were very few residents around the wharf. Now, Donjiadu is a populous resident area. Its resident population reaches to 95,000 plus the migrant population of 15,000

With his camera hidden in the back of a Beijing taxi, director Fan Jian manages to overhear the daily conversations between driver and passengers. In the cramped space of the car, customers share their secrets, their hopes, their conjectures about the future, and sometimes even offer advice to the driver.

By the end of 20th century, the political system in rural China was evolving towards “democratic” autonomy at the village level. This was after having undergone the countryside gentleman’s administration system, the baojia system, the local autonomy system, the people’s commune system, and the household contract responsibility system respectively over the past centuries and millennia. It was winter during the Year of the Tiger when the revised Villager’s Committee Organization Law was issued. Three thousand villagers of Dong Puo Village voluntarily elected village representatives to select the candidate for the Villager Committee. This film depicts a village in western China as a single case study, adopting the method of observing and recording events over a three year period. The film reflects the unique course of “democratic” autonomy that several hundreds of millions of Chinese farmers have encountered in the complex environment of rural politics, economy, and culture.

Two tramps on the way... a mother and a son.

Workers, peasants, soldiers, students and merchants were five groups of Chinese society in the 1950s, after the so-called elimination of the exploited class. Borrowing this concept, the umbrella is taken as the clue to rediscover changes in various social classes after the economic reform, and to analyze the social problems in China. Workers making umbrellas, merchants selling umbrellas, students looking for jobs in the rain. Umbrella is used as a metaphor that can be seen everywhere. As the raindrop, what we see is sometimes clear, sometimes untraceable.

This video records those appealers' New Year Eve in 2004 in the petitioners' village, Dongzhuang, Beijing, who are homeless or hard to go back home. It tries to face their life and record their experience, listen to their voices, learn the grass roots level in the Chinese society and approach a real, myth-like China.

A boy with a hidden life and a mother desperately trying to reach out.

Ju Anqi traveled all over China looking for interesting quilts and stories of people sleeping under them.

Propaganda documentary on the Northeast Area Revitalization Plan.

This 65-minute documentary is a record of the event “Reshaping Society” — 2001 Chinese Artists’ Conceptual Reflection Activity, organized in August 2001 in Chacun, Jing County, Anhui, by the contemporary art curators Mao Xiaolang and Zuo Jing. The film was originally shot as visual documentation of the event. However, the large amount of footage accumulated during filming ultimately led to the completion of the film in its final edited form. The entire film was shot on a Sony PD-100 DV camera, and the post-production editing was completed using a tape-to-tape editing system.

At the turn of the century, China experienced drastic transformations in its socioeconomic structure and political system, which brought forth the acceptance of many concepts that had previously been opposed. These included making quick money, "selling" your body, and accepting hidden pornography. Using an inconspicuous hidden camera over the course of several days, Cui Xiuwen artfully captures how nightclub women act during this time – including dressing up, counting money, speaking to family members, and negotiating deals inside the ladies' room at one of the most popular nightclubs in Beijing.

The emperor's southern tour, where the place is full of hospitality, needless to say, local food attractions need to taste the tour. West Lake Moonlight Night, quiet and distant, the emperor sat in the boat and tasted the famous West Lake vinegar cooked by famous chefs. Even though the taste of the world's famous dishes, the emperor is still attracted to the delicious taste of this dish, for a time completely disregard the image, big. The so-called music is very sad, and the bones of the fish are stuck in the throat, and the pain is unbearable. The chef tried his best, and it was hard to see the results. He was also raised by the emperor who was angry and angry. At this time, the calm prime minister is coming out...

For thousands of years, the Kucong tribe have lived in the primary rainforests of the Ailao Mountain and led primitive hunter-gatherer lifestyles. However, things changed in 1949 with the proclamation of the People’s Republic of China. A series of programmes were initiated to get the Kucong tribe to leave the forests and mountains, however, such initiatives did not go down well with the Kucong tribe. During the 50 years between 1958 and 2008, the Kucong tribe has been relocated from the forests five times; all five times, they escaped back to their homes in the forests. In 2008, the government decided to resettle the Kucong tribe for the sixth time—will they leave the forests this time?

A Beijing delivery boy takes a grave risk to support his sick father.

Seeking to reach out to his son, a father expresses his wish to fix a relationship that has become cold and distant.

2005 Project by Zhang Peili

The video offers a nocturnal glimpse of Shanghai street life, depicting one of the typical neighbourhoods disappearing under the city’s urban development. The improvised sound track is a duet orchestrated for the ancient Chinese instrument the guzheng1 and for the cricket that sings only at night.

After his boyfriend leaves, a young man is lost in nostalgia and depression, until a mute street kid tries to distract him from his melancholy. A moody and romantic story that pays homage to the film noir of Hong Kong director Wong Kar-Wai.

I and other person, we exercise the daily movements by moving each other's body.

Adil Hoxur, descended from a line of Dawaz tightrope artists, performs nightly with his troupe in China’s Taklamakan desert, among the Uyghurs, a Turkic Muslim people seeking religious and political autonomy. Shot over four months, this experimental documentary takes shape as a travelogue, ethnographic visual poem, and advocacy video for the preservation of a traditional art form. - MoMA

Hongxing alone picked up the burden of family life, supported Yang Chang to become the head of the village, and helped Yang Chang lead the whole village to realize the wishes of their ancestors.

"A documentary made for the media" (Hao Yuejun).

Heike Baranowsky captures situations in Chinese everyday life, as in her sixteen-minute film projection T Square (2006), which she made together with Waszem Khan (camera: Volker Gläser). The film operates with a hardly perceptible and slow and regular zoom in on Beijing’s Tiananmen Square, where the evening ritual of lowering the state flag is in pro- gress. The transition from a city panorama to the action at this historically and politically charged location is accompa- nied by a change in atmosphere, both through the onset of darkness and a shift in perception from mere viewing to ob- serving. (Peer Golo Willi)

Cheng Sanhe, the first "Kanu" who successfully filed for bankruptcy in Taiwan, went from being inexplicably indebted at the beginning to realizing that he had already owed millions of debts. The bank's collection and the finance company used threats and intimidation to collect debts. Sanhe has since fallen into the hell of "using cards to raise cards". Taiwan’s first "card god" Yang Huiru, who successfully profited from banks with bonus points, used the loopholes in bank bonuses to successfully connect relatives and friends to purchase tickets or shopping station goods by swiping cards, and then use online auctions to earn the difference. Earning millions in the bank, the bank stopped using credit cards. Yang Huiru, who has also experienced personal pain, persuaded the card slaves to face reality: "Hurry up and cut off the card! Because the interest is too heavy, don’t think about borrowing another cash card to pay off the card debt. It’s getting deeper and deeper."

Update version of Gao Guodong's The Nu Family, shot from 1992 to 2007.