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My Nostalgia, My Songs is a poetic documentary centered on Lin Hwai-min’s landmark dance work for Cloud Gate Dance Theatre of Taiwan. The music, curated by iconic photographer Chang Chao-tang, weaves Taiwanese folk melodies into reflections on urban migration and collective memory. Through the cinematography and editing of Christopher Doyle, the stage becomes a cinematic space, transforming performance into a sensory meditation on Taiwanese identity and cultural displacement in the 1980s.

Taiwanese movie

In this short filmed during Chung Mong-hong's study in the United States, a giant cross hovers above, as floating images of the city segue into the vast expanse on the beach where an exorcism is underway, with people holding crosses and self-flagellating, contrasting with the skyline on the other side of the city, the nostalgia and alienation of the sojourner. During the exorcism, a voice-over relates the varied reactions of the bystanders. What is ‘exorcism’, and how do symbols, sounds and imagery relate to each other? In this highly experimental work, Chung compares the director’s montage with the process of exorcism, offering an alternative interpretation and reconstruction of the film’s structure and narrative.

In June, 1993 , the gravestone of Hsu Ching-Lan was finally found in Liuchangli by his brother after 40 years of searching. Hsu was killed by the KMT during the 'White Terror,' the organized suppression of leftist activities in Taiwan in the 1950s.

He promised the woman (played by Qiu Yuru) that he would love her deeply, but who knew that he (played by Liang Chenrong) was actually a wolf wearing a mask, and then taught his daughter to embezzle public funds, causing her to be unhappy at work? , and it got worse day by day, until one day, when the woman came home, she found that the man had been with another woman.

This is a four-part anthology comedy. The themes of four parts are: car, house, body and friendship. The central characters are a plastic surgeon Chen, a nurse, an experienced maid, three energetic teenagers and a young couple. The stingy surgeon Chen treats a car and a man so differently that he could be a perfect example to show how treasonously modern people treat their cars and how indifferently they treat other people. The maid Ying is like a knight on her "iron horse" (a bicycle), fighting in the city. Every day she rushes home after work to wait up for a husband never returns. The new nurse has problem with her colleague because they support different idle. What she also doesn't know is the reason why her brother's girlfriend sends her free lunchbox so often. The truth is that her brother's girlfriend wants to get plastic surgery in the clinic. Almost everyone here is not satisfied with his/her body. Moreover, they try to change their body with quite violent ways.

Mo Tz-yi is a high-school youth who likes to hypnotize himself by listening to tapes, intending to explore the world beyond. Chen Wen-yi, a student who failed in class before, cares about nobody and nobody cares about him. Mo begins to shift his attention to Chen. Rumours abound about Chen - he had once committed suicide. As two chords with the same frequency achieve resonance when played together, Mo and Chen begin an interesting journey together.

Recently, Xiaowen always had strange dreams at night, which led to lack of energy during the day and some abnormalities at work. When her friend Yaoyao asked very concerned, Xiaowen had to tell her honestly that Yaoyao thought Xiaowen would do this because she didn't have a boyfriend, and suggested that she join the sausage clan so that she would no longer have nightmares.

Annie and her family are spending the holidays with an old aunt at a remote mountain village. For this city girl, the big adventure begins at The Ching-Hsiow Villa! Here she learns of the old aunt\'s love story during the Japanese colonial era, meets a magic raccoon, and makes friends with the local Native Taiwanese. Full of surprises - and some minor dangers, too! - this is an unforgettable vacation for Annie and her family. One of the few outstanding Taiwanese animation productions in recent years and a nominee for Best Animated Features at the Golden Horse Award in 1997, ANNIE\'S MAGIC RACCOON is a simple and yet profound tale about the heart. It also reflects the emerging awareness of environmental and political issues in Taiwan in the early nineties.

Taiwanese drama

This landmark dance film presents *Portrait of the Families*, a defining work by Lin Hwai-min and Cloud Gate Dance Theatre of Taiwan, directed for screen by Chang Chao-Tang. *Portrait of the Families* is a mournful elegy for loss. Dancers move amid projections of nearly 200 historical Taiwanese photographs collected by Chang Chao-Tang and the voices of oral histories, evoking the deep scars and pain left by the 228 Incident and the White Terror. This film captures the original staging from the work’s 1997 premiere.

The Silent Thrush is a fascinating mixture of exoticism and eroticism. It tells the story of Mu Yun, a young woman who joins a Taiwanese opera company. Ka-hung, the company's star actress (who is Mu Yun's childhood idol) soon falls in love with Mu Yun. This provokes the intense jealousy of Ka-hung's longtime lover, Ai-cheng. Their melodrama of lesbian love is played out against the backdrop of the troupe's day-to-day problems.

Taiwanese lewd film.

Huang Hsin-Yao’s directorial debut on documentary

A disturbing close portrait of a young man who, like all other men in Taiwan, must enlist in the army. Dreaming of saving enough money to enter an Australian art college after having been discharged, he is gradually crushed by the corruption, the verbal violence, and the hypocrisy that festers in the military hierarchy.

In 1968, Taitung Hongye Little League defeated Japan's Wakayama Little League 7-0, which was a legendary story of that era. The barefooted children of the Bunun tribe used stones as balls and sticks as sticks to win Taiwan the glory of defeating Japan. But what's the truth behind the legend? Where is the legendary young player now? This film goes into the fog of the premature death of more than half of the players, not only the stigma of impostor, but also the lament of underappreciated talent, and the baseball dream of the next generation of children.

A group of talented young men with fanciful notions form a film studio. However, after years of bad business, caught between lost ideals and reality, they decide to condescend to the market and make a kitschy action movie in the Hollywood fashion. In the meanwhile, every one of them attempt to find their own reflections in the filming process, therefore creating a pandemonium of contesting creativities both inside and outside the film they are making.

It tells the story of a woman who recalls her childhood at night.

[Installation Art Decade Series-Crossing Huashan Wall (History, Ready-made Objects 1998) The Huashan Winery in Taipei City was designated as the first installation art exhibition of the Art and Cultural Special Zone. The background of abandoned factories and warehouses brings a special atmosphere to the film and is also fully utilized by artists.]

This documentary is about a group of people led by the anti-high artistic attitude of the underground culture of the end century during the Mid-Autumn Festival in 1995 for three consecutive days and two nights, supported by the unprecedented courage of the Taipei County Cultural Center; the planning is broken.

A white collar worker is kidnapped on the way back home. The kidnapper gives lectures to him on the interrelationships among the five senses, and points out the importance of the olfactory system. Nomination for Best Short Film, 34th Golden Horse Awards, Taiwan | Outstanding Short Film, 21st Golden Harvest Awards | Outstanding Narrative Film, Taipei Film Awards 1997

A documentary of an indigenous artist Pavavalung Sakuliu, who devotes himself to the cultural renaissance of the Paiwan culture, which is endangered throughout the past century when modern economy was introduced to Taiwan by the Japanese colonial government in 1895 and by the Nationalist government which took over Taiwan in 1945.

A young woman in an old town is looking for a place to stay. How does her gaze differ from the goddess's?

A visually stunning paean to spiritual pilgrimage that creates a world of intense reverence, distinctly Asian in its imagery. Set to Georgian folksongs with 3½ tons of shimmering golden grains of rice.

A-Cheng seeks money to save his sick wife via cheating in a gambling house.

I did not want to be born, suddenly I was born, I did not want to die, suddenly died. More than 500 years ago, during the Ming Dynasty, a samurai raped a little girl. Five hundred years later, the little girl's pet white cat cultivates into essence, to help the little girl's ghost kill the descendants of the samurai. If the little girl wants to be reborn, she will need to die ten lives.

A documentary of taiwanese writer Lai He.

Following the lifting of martial law in 1987, Taiwan entered democratisation as grassroots movements flourished. Proposed by director Lee Daw-ming and funded by the Public Television Service, the film interviews key figures shaped by the Lukang Anti-DuPont Movement. Intended for broadcast, the film was suppressed by authorities and finally screened at the 2002 Taiwan International Documentary Festival.

The film explores the leadership system in lives of chiefs such as Rangalu who was sworn in as the Head of Santiman District, Taiwan, which consists of 10 villages with the population of 70,000, most of whom are indigenous Paiwan. The Paiwan people live in the mountain area of southern Taiwan. Their rich oral traditions and cultural traits are revealed in this unique film. The two director, Daw-ming Lee and Sakuliu Pavaavalung, exchange their views on political and economic issues.

After the 921 earthquake, seven faculty members and students from Tainan National University of the Arts took cameras and went to six disaster-stricken areas to document and interview. They captured 13 hours of footage, which was structured into ten segments reflecting the grief, resilience, and lessons inspired by the earthquake.

The East-West Highway was soon to be built in central Taiwan. It would pass through the village of Liu Ts'o, and many homes and rice paddies would be destroyed. The filmmaker, Hu Tai-Li, went back to her mother-in-law's village Liu Ts'o, where she did anthropological research from 1976-78, to preserve some images of life at that moment - forever.

Part oral history, part reflection on a culture at risk of being erased, this documentary presents a deep dialogue between a 93-year-old Pangcah chieftain and an indigenous filmmaker. Through words and songs, hunting trips and weaving of vines, the elderly chieftain lives and embodies the ways of the Pangcah people. He also recounts his frustrated attempts in defending traditional culture against Taiwan's encroaching modernity.

Charged with violation of the Water Act, the indigenous community living under the San-ying Bridge was forced to witness their shelters and homes being torn down by the government every year, while the sand and gravel processing plant on the east bank grew larger and larger; the garbage mountain on the west bank higher and higher. This absurd cycle became so familiar that the children of the community began to build and demolish make-believe houses as a game.

The film was produced independently which used clay and other materials for landscaping to shoot on 16mm film. It shows that Taiwan's metropolis, mainly Taipei, has undergone rapid changes in the times, with vigorous vitality but disorder and lack of overall urban planning.

Movies are a window on the world. In the 1990s, Taiwan-produced motion pictures did well at international film festivals. This has not only familiarized audiences around the world with the richness of Taiwan movies; it has allowed them to see Taiwan's growth. This presentation focuses on two stages of Taiwan movies: the pluralistic creativity of the 1990s, and the beginnings and foundation-building of the 1980s. It introduces contemporary directors of the time and their works to take viewers back to an enthusiastic and energetic era. It describes the relationship between cinema and social development, and explores the mutual reliance of the aesthetic of realism and social thought. Wave after wave of developments in Taiwan New Cinema occurred in the 1980s and 90s.

My sister Pei-ling went through with an unexpected pregnancy. The child was nicknamed Angoo. In three years, Pei-ling broke up with the child's father, met a new boyfriend, left Angoo in my parents’ care to move in with her boyfriend, until she finally moved back in with our family due to the disapproval of her boyfriend's brother. The parent-daughter relationship was strained at first, but gradually things changed; understanding and love returned between them.

Through juxtaposing languages with words, images, and sounds, A Play in Water depicts the conflicts between the internal world and external culture in prose poetry form. It can be considered as a personal diary written by a 16mm Bolex camera in memory of the beautiful life in Chicago.