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With the form of remote audio conversation for its main narrative, the essay film consists of four chapters, each of which has its own focus but is also interconnected with each other. Blending voice narratives in four languages, moving images and literary texts, the film is mainly made from home video collections created in the 1990s from both filmmakers’ families, with home videos shot in the 1960s by a Hong Kong family as interludes. The film not only unfolds how East Asian families created their own image with amateur filming devices but also tells stories of migration, travelling, growing and familial relationships.​

Umezawa Sutejiro came to Taiwan to work in 1911, and had stayed in Taiwan ever since then. He participated in design and construction of nowadays, to name a few, Songshan Cultural and Creative Park, Law School of Taiwan University, T&L Hsin Chu, Taichung Normal University, Chiayi Art Museum, Tainan Art Museum, Hayashi Department Store. This documentary film is in attempt to draw a finer portraiture of Umezawa by interviewing Umezawa’s grandson, scholars and architects and by focusing on the discourse of Chiayi Art Museum building. It also intends to pay tribute to Umezawa.

As a storied apartment complex awaits its eventual demolition, its inhabitants teeter on the edge of poverty in an invisible city hidden in plain sight.

An art teacher returns to her childhood home to mourn the passing of her grandmother. As she pieces together the fragmented memories of her youth she finds herself coming face-to-face with the problematic issue of her country’s fractured history. Through an artistic duty that this teacher gives to students, a performance art process that has lasted for more than 10 years, a representational portrait of the island’s collective memory begins to emerge; and in so doing, these young artists have initiated a process by which Taiwan, an island forgotten by the world and in the midst of forgetting itself, can now remember itself and construct a new postcolonial identity through art.

In the 1990s, Chinese composer and educator Bao Yuankai began composing Western-style symphonic pieces rooted in traditional folk music. One of his acclaimed pieces is Sketches of Taiwan, which Bao was inspired to write after falling in love with Taiwan’s people and culture. Tsui Yung-Hui follows as he retraces his musical journey, decades-long love affair with Taiwanese culture and how he came up with brilliant, groundbreaking work that artfully bridges East and West.

The protagonist escapes Earth after a global nuclear destruction to find a new planet to live on but finds that he/she always returns to it to learn life's profound lesson.

After school, Xiao-Ci wants to talk to her mother about what happened in school today, but her mother was too busy looking for the evidence to prove Xiao-Ci ’s father is still smoking secretly. Xiao-Ci’s mother was sure that, last night, she heard the sound of a lighter: “Pada!”

Hong Kong is facing tyranny, and a pair of brothers are marching on their own ways in the revolution. However, the horror is approaching, and it’s like this city knows everything, it reborns after it collapses. There seems to be a huge energy behind this, asking inwardly: What is the fight for?

Growth is learning to live with trouble. Kai, a ten-year-old boy with irritable bowel syndrome, plans to send the love letter to his crush, Jenny on Moon Festival.

A time of crisis with a pandemic raging––these are dark days. Nevertheless, on a special errand, a little girl resolves to get through a city filled with viruses, made worse by people’s indifference. The little girl’s special errand is bringing her mother a magical rose. Her mother is courageously working in a hospital on the frontline against the pandemic. As with the battle against the pandemic out in the world, her journey is bumpy and frustrating but hope is never lost.

Somewhere, an unassuming betel nut stand sits next to the bustling streets. There, a fair-skinned beauty named Nana tends to the shop. Many customers frequent the shop after carefully parking their cars, and yet some take far too long to come out for what should be a quick transaction. Even weirder is that often these customers come out with a dazed look on their faces, but with seemingly no purchase made and empty hands… One day A-YAO enters the shop after being persuaded by A-Hsing only to discover a hidden side to the normal-looking shop…

Liu Jay often invited Bao Yu home to spend the night, but was always vague to her mom when talking about the two of them. During a family gathering, Liu Jay finally confessed and made everyone awkward. She didn't speak with her parents for a few days until...

The son who was watching the movie received news footage from his friend. At the same time, the father kept calling him to turn off the TV in the living room. Going up and down the stairs, passing by the photos of Michael Jackson, everything seems to imply the scars that repeat in history.

Q is an innocent boy from Taiwan. One day he gets stung by the tip of a Chinese pagoda tower and passes out. When he wakes up, people around him think he is a god coming from heaven.

Witness the first light and sounds of a new dawn breaking, as observed around the world one year ago. Patrick Shen’s cinematic meditation was created during the first COVID-19 lockdown by 35 artists from over 13 countries on May 3, 2020. With a soundtrack filled with environmental bird songs and ambient aural awakenings, the contemplative and collective portrait moves from darkness to light as a metaphor for hope and rebirth. 2020, United States, digital, nonverbal, 21 min.

A documentary short about a man constructed facial mask map during the pandemic.

There is only a little boy on the planet. Day after day, even the boy is lonely however he works very hard to keep his daily routine implemented.All the efforts he does is just waiting for the day coming...

The director's pregnant sister moved to Hsinchu upon marriage and hasn't returned to Taipei in a year. Their mother hoped to tend his sister during postpartum confinement, but instead, this made their relationship deteriorate even further. The director also uses the camera to search for traces of his father, a Taiwanese businessman in mainland China who has been absent since his childhood. The film tells the story of how their family fell apart more than 30 years ago and then came back together.

On the way up Yushan takes the journeys of Mr. Wu Rong-Fu and Mr. Lin Chang-An as the axes of narrative. The two individuals had some "modifying" on the top of Yushan. Their lives are intimately tied with Yushan. The personal narratives branched out along the way, the unexpected events on the halfway, and the anonymous landscapes, the mountain of memories via hands and materials as well as imaginations and recollections. Though they never meet, through the film, they'd have a chance to walk aside.

Suat-ah is a contrary and stubborn woman, One day, she suddenly left, and we lost her before we had time to say anything. Suat-ah is my mother. The son tried to reconstruct the documentary of his mother's memory figure in the non-existent reality, hoping that the memory and warmth of his mother could remain in this world.

"Zhongsen Theatre" opened in 1968. At that time, the theaters competed with each other. The Zhongsen Theatre still managed its own characteristics in many theaters. However, after 2000, the old city was down, and it was closed to the changes of the times. The company was closed down and idle. As the old city began to recover, the theaters also changed hands, but most of them did not present the cinema, and the Zhongsen Theatre was sold to the construction company in 2016. The film records the demolition of the old theater and the rescue of two antique projectors, hoping to find a more suitable place for them to preserve and continue the spirit of the times. After the demolition is completed, the site is intended to be used as a new residential construction site.

The story takes place in a sea. Two pilots crash down, red and blue. The two compete for a pistol, hoping to kill each other… This film explores human nature. People who are bound by duty are extremely blind, like soldiers who have become refugees at sea. If they can leave their guns and duties behind, the two have a greater chance of survival.

Jia-ling got notified of her father’s passing due to the COVID, and she returns to Taipei from abroad to take care of the funeral matters. Chen Hsiung is an old man living alone with mild dementia, who mistakes Jia-ling as his married daughter. In the congregate housing shrouded by the pandemic, they found the long lost feeling of accompanying, even just for some brief moment.

A Taiwanese woman's journey to America reveals her fantasy of love and an identity entangled with beauty, sexuality, nationality and two languages. Through the protagonist confronting her own image and her failure at communicating, Wild Grass tells an unusual love story that is deceptive yet revealing.

Mankind is longing for freedom, even Cyborgs. In a closed mechanical underworld, E-28, the protagonist, is a cyborg imprisoned by the underground governor, the General. After a reunion with the mechanical dog, his partner in the old days, E-28 is brought back to its hidden mind. In facing the challenge, E-28, embarrassing the humanity, gradually begins a story of pursuing freedom.

I tried to discuss the stirring and emotional states in human life, like a touch or a physical state of behavior. We expose ourselves to a vast event that creates a state of smallness and vulnerability, We are so vulnerable, so powerless to extend our thoughts or intentions.

Sculptor Tu-shui Huang (1895-1930) was way ahead of his time, combining traditional Chinese themes with Western influences that he learned while studying at the art academy in Tokyo. This earned him a reputation as the “founder of modern Taiwanese sculpture,” but he also drew criticism.

How Do You Turn This On

Mark is a director working in Taipei City who recently lost an important client. Reluctant to go back to his hometown Kaohsiung, an industrial town with severe pollution and no directing job, he decides to earn some quick money by making porn with his friend, Bugsy. However, while they are shooting the sex scenes on the rooftop, the worst smog arrives at the city and devours everything, including Mark’s last hope to stay in Taipei.

Bing-kun Su is destined to be a name that will be mentioned repeatedly in Taiwan's judicial history after the year 1986. Being in the environment of martial law, his family and career were destroyed overnight due to the flaws of judicial judgment. As the vindicator with the longest period of unjust imprisonment in Taiwan's history, Su was constantly dragged down by the injustice, together with his family. The lives of his wife and four children were turned upside down by this tragedy, forcefully changing their goal of life into "the reversal of Su's injustice case". The seemingly peaceful not-guilty justice buries the family's choice of life, with all these hidden costs that judicial compensation can never pay off, casting shadows over S and his family for a whole lifetime.

A man was caught cheating when his girlfriend just walked in. She died in an accident immediately after the witness. The man then fell in love with another woman after a short period of mourning. The ghost of his girlfriend got furious, and revenge was about to begin….

Jiang brings Yang Yi around as they hang out together. In the last year of middle school, Jiang transfers. Yang remembers vividly the day before the summer break, when they share a memorable afternoon in the bright sun and heavy downpour.

My father's attempt to reminisce by his childhood seaside became one of the most inexplicable experiences of his life. The film strips were buried for 28 days in vinegar, mud, cheese, nato beans, beer, and kimchi. The disintegrated imagery produced by the decomposition is reminiscent of the fragmentation of memory.

Why did you draw? How did you begin to draw? Why did you stop drawing? How did you go back to drawing? Will you keep drawing?

"Nan Xia the Tramping Tiger" used to be the favorite show of Zhu, Ching-Quei, the founder and first-generation director of Shinergy Puppet Show Theatre, as it has been a renowned masterpiece of this theatre for years. When Zhu Ching-Quei died from disease in 2015, his eldest son Zhu, Sheng-Chueh started to take the helm of theatre, but was faced with a dire crisis in the fast-changing world. Then his younger brother proffered an idea of using projection mapping to create the best ever Golden Light Puppet Show. Hence the two brothers are faced with a tug-of-war between tradition and innovation.

The Lighting aims to revisit issues of discrimination rooted in technological development and image production. Three professional Togolese photographers explore how to use instruments to compensate for insufficient exposure while shooting dark skin tones. A leading software engineer, developing facial recognition algorithms at Taiwan's MediaTek, talks about how a newly-created camera algorithm is very popular on the African continent.

A woman’s boyfriend is missing but he returns as a vampire and then things get weird.

SEA 404 is inspired by Japanese photographer Hiroshi Sugimoto’s series Seascapes, and French philosopher Jean Baudrillard’s essay The Vanishing Point of Communication. It questions the contemporary condition in which the computer mediates our experience, and parallels Sugimoto’s observation that media has transformed the way we see the world. In this film, the shift from the horizon line to the world of the onlooker is underlined by the sudden entrance of everyday sounds. The soundtrack is made from field recordings taken every morning at the same time and location for thirty consecutive days.

Short animation by Holly Lo

“Have we ever been to Matsu?” Does this question trigger some mental images, such as flashing postcards inside our mind, or memories of shared photographs through social media? How do we build a landscape of an island? By modifying the geography or by spreading its visual representations? Let’s replace the first inquiry with another one: “Have we ever listened to Matsu?”What would we listen to first? Who would we listen to? What do people in Matsu listen to? As islanders, do they listen to the sounds of the sea or to the sounds of the neighboring country? Is there any document we can listen to about Matsu? Just like images and the internet conspired to transform our vision and memory, may recorded sounds could alter our listening, and therefore our perception of these islands?

"1975 of My Mother and Me" is the final release of the series "Where Do You Come From." The series segments the artist's life experiences in different works featuring significant years. The previous three pieces are respectively about 1981, the year when he was born, 1990, in which his parents divorced, and the year of 2020 when his mother is living alone. "1975 of My Mother and Me" marks the year of 1975 when his parents got married. The artist explores the meanings of marriage and family in a retrospective way.

Gazing at the wall's cracks and a scar, a woman recalls the ups and downs of love. A depiction of femininity and female internal time-consciousness through the convalescence of woman's broken heart.

“Road to Human Rights” revisits Taiwan’s authoritarian past through the stories of four political prisoners during the nation’s White Terror era. The documentary resonates with viewers across generations, especially younger activists, who play a crucial role in effecting change in Taiwan’s politics and society.

An outlander tries to find the amulet that his mom gave him. During the searching, he steps on the journey that he has to face the mistakes he made from the past.

Mori investigates the confluence of ecologies with place-based affectivities in Yamaguchi Prefecture, Japan. The title of the three chapters,“守(to protect)”、“森(forest)”、“杜(spirit)” are different in shapes and meaning, yet all pronounced as “Mori in Japanese.” Karst cave, groundwater, the soils, villager, burning mountain ritual, scientist, Buyō dancer, majestic oak and forest, the work questions the ways of contemplating nature through rituals and folklores, and how landscapes have been historically constructed. Conceptualizing Dan Graham’s installation “Two-way Mirror Triangular Pavilion with Shoji Screen” as diffractive model of the work, Mori sees landscape as process and inner mechanism, which is defined by our detached vision and interpreted by our bodymind. It is a panorama which continuously changes as we move along any route.

In the universe, there is a kind of aggressive race, human beings know nothing about them, but they know what human beings say and do. That race is cat. They are mysterious, evil and lurking in human society. They find that people increasingly rely on social media on the Internet to receive all the messages in their lives. As a result, they launch a series of brainwashing human actions around the world by Internet invasion...

When I first heard the word "puffer fish," I asked Dad to draw one for me. He took a piece of paper and drew a small one. In retrospect, he was like this piece of paper, always leaving me with a big, blank space.

Professional mourning is a time-honoured tradition that is slowly dying out in Taiwan. Liu Jun-Lin is currently the youngest and one of the best-known professional mourners still working in Taiwan. The Filial Daughter captures her and her band's pre-funeral rituals and elaborate performances, which include acrobatic dance manoeuvres, sombre songs, theatrical elements and detailed choreography. The event is steeped in folkloric tradition yet wholly modern, featuring maximal lighting and pumped up PA systems.