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Nan-Fang-Ao, a village in northeast Taiwan, once thrived on its big-net fishing industry. Now migrant workers from the Philippines and China vigorously live and work with the locals on one of the few remaining fishing boats. As we observe their life at sea, where the air is abuzz with different languages and gestures, thoughts of home drift among those who have come to provide for their families. There is the captain who talks about the old days, the woman who sent her husband off to sea and runs a shop in the village, and the laborers from foreign countries who buy gifts for their families at the market. With a fresh look, the film depicts people living on the unchanging stage of the ocean’s vast wilderness.

This film was made in the Bade Area of Taoyuan County, Taiwan. Chen Chieh-jen invited local temporary laborers to wander around the area, and enter office buildings and factory spaces that had been sealed off by the courts due to property right disputes. Examining the objects left behind in these spaces from the viewpoint of these temporary laborers, it muses on the voids and landscapes left behind in Taiwan amidst the torrent of globalization.

West Island lies south of Penghu, under a square kilometre in size. At its peak, around 200 people lived here, but by 1999, only few remained. It's uncertain if their departure was coincidental. Both the island and its inhabitants have faded into obscurity.

On Green Island’s Human Rights Memorial, a poem by Bo Yang mourns the mothers who wept through long nights for children imprisoned there during Taiwan’s White Terror. In Cries in the Dark, the filmmaker turns that line into family history. In 1950, their parents were arrested in the Yu Fei espionage case, convicted of rebellion, and sentenced to 13 and 10 years in prison. Their grandmother, desperate to save her newly married daughter and son-in-law, cried for help until she lost sight in one eye. Decades later, the case was officially recognized as a wrongful conviction: 34 people were implicated, four unrelated defendants were executed, and the rest received heavy sentences. Born while their mother was briefly released from prison, the filmmaker spent early childhood behind bars before being separated when she was sent to Green Island. The film records the intimate cost of political persecution across prison, family, and memory.

The severe acute respiratory syndrome (SARS) broke out at Heping Hospital in Taiwan in 2003. The government decided to isolate the hospital and asked all staff member to return. Dr. Chou defied the return order. Following Dr. Chou's lawsuit against the government, an inconvenient truth in this affected hospital was discovered.

After A-luen watches a TV show with the footage of a real-life murder late one night, the dead woman's corpse seen in the footage begins to follow him everywhere. At first she appears in a distance; slowly, she gets close - on his street, in his room, sitting next to him...how close could she ultimately get?

The heart is a battlefield where struggles between good and evil, light and darkness rage.Frostlight, a naive girl, disregards the fortuneteller's warnings, and tries too hard in keeping Westwind's heart. Her attempts catch the attention of Asura, and a war breaks out. Frostlight quickly boards a mysterious ship and departs on a perilous and fantastic journey. This strange ship carries a cast of helpless, tormented souls as it drifts through a mysterious space, unable to make port. The souls fear that Asura could strike at any moment and send them to the Asuran Realm, never to return.

A polygonal girl tried to make herself prettier by using her new cosmetic tools, and by doing so accidentally ruined her own face.

Traditionally the Tao people always harvest flying fish and dolphin from their plank boats in the southern waters. In the summer of 2007 they rowed westward to the unfamiliar water across the Kuroshio to call on the civilized Taiwan for a change. On their journey to Taiwan the Tao people have found themselves in a predicament under the circumstances of contemporary civilization and modern Taiwanese society.

Taking care of the children on their own, a group of women just realise how ignorant the whole society is, regarding the daily needs of mothers and children. In this film, the filmmaker shares her own experiences with two other women caught in the same dilemma.

This film mainly features two friends of the artist. One works in an empty 85-story skyscraper. The other is a student who has participated in left-wing movements and anti-globalization activities for many years. Through these two friends’ situations in life, the work reflects the dreams and illusions of Taiwan during its process of ‘modernization’, and the irresolvable struggle between different national ideologies in local Taiwanese politics.

"On the Road" has neither script nor narration. It only includes music and percussion by Nana Vasconcelos and Ralph Towner, as well as singing and lute music by a blind woman. The counterpoint and interweaving of these passages in time seem to communicate the transmigration of life and the flow of time. Birth and death move in a cycle like the eternal earth, and people can only constantly walk along the road.

Summer 1996. Days after finishing their national college entrance exams, teenagers Simao, Awai and Qiming crashed their car at dawn following a night out in Beihai - with passengers An'an and Xiaomei. Simao, the driver, hovered near death in ICU for three months while his grandmother and traumatized friends kept vigil. Unbeknownst to the comatose youth, two life-altering events occurred that summer: his long-absent mother visited secretly, and his college acceptance letter arrived. This coming-of-age story traces the trio's journey through guilt, confusion and fractured dreams in Simao's shadow. When he finally awakens three years later - his innocence preserved like a time capsule - his friends confront bittersweet truths: their struggles to outgrow teenage skins now mirror the very fractures that once bound them.

[Ten Years of Installation Art Series-Taiwan Art Lantern Festival (Technology Empyrean 2004) The Taipei County Bureau of Culture used "Technology Auras-Metropolitan Gaze and Imagination" as the curatorial proposition of the 2004 Taiwan Lantern Festival Art Light District. It reintegrated the meaning of the times, contemporary art, and the cultural image of the traditional Lantern Festival. Its purpose is to focus on dialogue through the works of artists, the contemporary "urban imagination", and a total of 9 domestic artists' lantern festival installation creations.]

There are more than 320 thousand migrant workers legally hired in Taiwan, among them more than half are from Thailand. To these migrant workers, working abroad in Taiwan is a risky gamble. If they win, they can pay back large amount of brokerage fee and earn some money to support their families. The three Thai workers from northeastern Thailand in this film, however, weren't so lucky. The electronic factory that they'd been working was suddenly closed down. The owner of the factory simply said that he could not afford to pay the salaries of the 100 domestic workers and 100 migrant workers. The Thai workers were eventually deported back to Thailand after fighting futilely for their rights with other migrant and domestic workers. Their dreams of earning money were totally shattered. Some of them were deeply in debt. Would they give up their hopes in earning money from working abroad because of their bad experiences in Taiwan?

In this documentary, director Tang records his own son's birth and growing up, his father's recovering from a stroke and a nostalgic trip home to China. (In the 1940's his father evacuated with the Nationalist troops to Taiwan after it lost the Mainland to the Communist in the war. It wasn't until 1980's were people allowed to go home to visit in Mainland China). From his search for the earliest memory of life, with a close observation and sensitivity, he exams the parallels of the different lives of a different time. In his previous work, "HOW DEEP IS THE OCEAN," director Tang ends it with the ultrasound image of his unborn child, representing the beginning of a new life. With this work, "HOW HIGH IS THE MOUNTAIN," it is rather a beginning of a series of questions about life and a continuation of examination of his own life and the longing of a perfect world.

We experience a lot of poems as a record of real life. Through the specific Taiwanese backdrop, the poetry film illustrates a series of moments to approach the concept of time, which is not as concrete as we are taught. As a poet, the filmmaker presents her ideas on the nature of reality, existence, what is there and what is not there.

Lou Ning, raised in a single-parent home, finds solace in piano amidst insecurity. Her friend Xiaojing harbors unrequited feelings, while mutual friend Li Hao hides his own. When French pianist Daniel captivates her, their romance ends with his abrupt departure, prompting her quest to France.

Searching for the Zero Fighters documents a little-known chapter of taiwan history, particularly the psychological landscape of postwar Taiwan and the Japanese aircraft left behind on the island after World War II. Through ordinary people’s memories of the Zero fighter planes and the director’s own family footage, the film explores the turbulent period between the end of Japanese colonial rule and the takeover of Taiwan by the Nationalist government. It is the first Taiwanese documentary to examine how Japanese military aircraft were repurposed into everyday household items, and the first historical film to explore why, after the war, many Taiwanese people feared speaking openly about their memories.

Chen Chieh-jen’s Lingchi Echoes calmly yet forcefully condemns the many forms of Western colonial domination Taiwan has endured. Its images feel like dream-images from collective memory, buried in the viewer’s unconscious and demanding a response. Projected across three screens at a slow, poetic pace, the work connects historical violence to contemporary Taiwanese society. Hovering between madness, agony, and ecstatic transcendence, the imagery turns viewing into an unsettling confrontation. Though based on a once-obscure historical document, its reenactment of lingchi in the twenty-first century feels like looking at images of hell. Loaded with colonial, historical, cinematic, punitive, and aesthetic meanings, the slowed image compels the viewer to stare—at history, at violence, and at the self. Lingchi becomes a metaphor for First World power over the vulnerable under globalization.

In this documentary by the writer Lin Shuangbu, the passionate and busy sports spirit is expressed in many short cuts. The free entry and exit of time and space is close to the expression style of the stream of consciousness, and he expresses his life background, social movement, literary philosophy and growth background concisely and neatly. Of course, the technique of screen transition and fade-in is also extremely smooth and vivid. There is a sense of reality of video reporting, and the revolutionary character of social movement in pursuit of truth is also hidden in the editing features.

This dance film presents Nine Songs as reimagined by Lin Hwai-min and performed by Cloud Gate Dance Theatre of Taiwan, directed for screen by Chang Chao-Tang. Drawing on ancient ritual poetry, the work evokes prayers to heaven and earth, spirits and ancestors, as well as love and mourning. Masked gods and human figures move together in a ceremonial structure, staging a timeless vision of human experience. Premiered in 1993, Nine Songs became one of Cloud Gate’s most important works. A studio fire in 2008 nearly caused the piece to be lost, but a surviving ceremonial mask remained as a trace of its legacy. This film records the production before the fire, preserving its original form. Moving across layered time and space, the choreography creates a powerful, immersive atmosphere. Through moments of wonder, grief, and ecstasy, the work unfolds toward a state of clarity and quiet transcendence.

Loh Tsui Kweh Commune is the most influential and controversial punk band in Taiwan's independent music history; from the early 90's till it disbanded in 2019, it combined the restless performing style with its left-wing attitude. The unusual mixture of radical political awareness, staggering showmanship and catchy melodies makes it an extraordinary phenomenon and a great conflict between its social and historical contexts.

Using hand-processing techniques and super 8mm film material, the film produces unexpected effects on texture. Furthermore, with different speeds of controlling the super 8mm projector, it creates a special rhythm in back-and-forth movements.

A devastating earthquake hit Taiwan on September 21, 1999. Based on the written correspondence between the director and his friend, this film illustrates the sorrow of families who lost loved ones in the disaster, and the relationship between the director and his aging father who now lives in an institution for the elderly. Death and separation, despair, and the desire to live. A fine work that questions the meaning of life.

“Lifeng Coal Mine” (利豐煤礦) in Sanxia, Taipei County, was once Taiwan’s largest specialized coal mine. Unable to compete with cheap imported coal amid Taiwan’s impending WTO accession, the mine shut down, leaving 118 miners unemployed and sparking disputes over pensions and severance pay. San Yan (《散宴》) follows several aging miners, including brothers Huang Wu-yi (黃武義) and Huang Rong-quan (黃榮全), documenting their reflections on unemployment and their lifelong labor underground. After sharing one final farewell banquet, the miners’ “black gold dream” disappeared together with the closing mine. Through the film, the director moves beyond stereotypical images of miners’ hardship, portraying instead the quiet resilience and optimism of these “last-generation miners.”

Lo-Sheng Sanatorium, Taiwan’s only isolated hospital for leprosy patients, has become home to patients living here for 60 years. With the construction of MRT, the government forced patients to move out, tearing Lo-Sheng down for economic benefits. In the face of authority, patients encourage each other in their daily life.

Kabukicho, located on the east side of Shinjuku, is one of the more famous red light districts in Tokyo. There are over 3000 registered bars, and at least 1000 of them are Taiwanese-owned. In the late 1970s, over 10,000 Taiwanese women left for Japan for work and wealth. Most of them settled in Shinjuku. The women worked over 20 years at bars to send money back home

It shows the psychological and destiny changes of a New York man on the subway.

A menopausal woman thought her husband had an affair because she was no longer beautiful. Imagine that a rival competitor is a young and beautiful woman, struggling to maintain a seemingly complete and happy home.

Structured around a dancer's routine, the film unfolds in four stages: hope, fear, anger, and longing for stability. It interweaves these emotions with those of locals of Matsu, the military, and first-time-visiting photographers from Taiwan island.

Taipei 4-Way is a film on Taipei and the people of Taipei directed by four artists working in various art fields such as animation, installation documentary and experimental film. The film looks at Taipei as a whole through four sections titled' enTAIPEItrance,"traTAIPEIverse','adTAIPEIhere', and 'exTAIPEIit'.

This is a behind-the-scenes documentary of "Double Vision", a Hollywood film shot in Taiwan. In 2001, Taiwan was struck by as many as nine typhoons, bringing with them an extraordinary amount of rainfall. That same year marked the first time the Hollywood film industry arrived in Taiwan with substantial funding and manpower. Although this documentary follows a production boasting an impressive international cast, it also captures a more complex reality: when the powerful machinery of Hollywood enters a country whose own film industry has all but disappeared, what should we be questioning or reflecting upon in this model of transnational collaboration? Like the typhoons that repeatedly swept across Taiwan during filming, what else did they bring besides torrential rain?

The Giant Panda is a mammal native to central-western and south western China and is a true member of the Ursidae (bear) family. The Panda's closes ursine relative is the spectacled bear of South America. The Giant Panda is among the worlds most adored and protected rare animal and is one of the few in the world whose natural inhabitant status was able to gain UNESCO World Heritage Site designation. The Sichuan Giant Panda Sanctuaries located in the southwest Sichuan province and covering seven natural reserves, were inscribed onto the World Heritage List in 2009. Discover the beauty and wonder of these great panda's and their fight for life.

This is a documentary about sweetness and hurt, pursuit and loss. It is a bluebird's song of comrades and their joy, tinged with melancholy premonition-a song that comes from afar as though to rub shoulders with life directly, only to pass on. A story of two marriages, one lesbian and one gay. The parallel structure lays bare the complexity of queer love, but also the cruelty inherent to love itself. Domestic violence, faithfully captured by the camera, threads its way like a deep silent river, cutting out its course and leaving a path of marks and scars. The survivor is like a child who cannot explain, but can only remember.

This restrained, documentary-like work explores the central role the manufacturing industry has played in Taiwanese history and the way in which this history continues to haunt it today.

How do those within the memories show themselves to us?

On the eve of World Human Rights Day, the Taiwan Society and Friends of Taiwan released the documentary "Red Martial Law" yesterday, which aims to restore the historical truth through images of the various brutal human rights violations committed by the military and police in the Chen Yunlin incident.

Missing was made as part of a series of short films meant to combine poetry and imagery. Wu did not use a poem as inspiration. Instead, he turned a touching story he once taught his students into an animated fairy tale about a boy who runs off to India to catch mice, and finds himself farther and farther from home.

Drawing on the first-person accounts of former postal worker and political prisoner Hsu Chin-Yu and her peers, this documentary confronts the grim fate of some who dared to oppose the authoritarian regime of 1950s Taiwan.

This is a 3-part love story. One girl is talking a story of her ex-boyfriend. He went aboard to chase for homosexual love. Although she stayed home, both of them are experiencing almost simultaneously unbounded sexual exploring journey in each end. The traditional narrative monologue is manipulated as a link to all the experimental segments. As the story goes on, the emotion of those original extremely abstract experimental footages are becoming touchable and understandable.

The film depicts the lives of elderly people living in a nursing home: their agony, longing and loneliness. Through the visuals of the film, they gradually illustrate a painting of their life. Love is after all an everlasting treasure intertwined in bittersweet sorrow. Caught in the space between dream and reality, images of wintry Taipei, with its drizzling rain, and the gloomy sky reflect fading minds of these aged women.

An elderly man cooks himself some noodles and eats them straight from the pot while watching TV by himself. He dozes off at his job as a security guard. Alone since the death of his wife, the father’s daily life is filmed by his daughter. While turning her gaze on ordinary things like garbage, keys, puppies, flies and lizards, we can almost sense the strong smells of summer and the sound of thunder at night. Suddenly, the father turns and waves to us. The father-daughter bond is expressed here in very few words.

An experimental animation film preserving the collection of old-time life at home. The "circle" in the film represents the passage of time, symbolizing the woman’s day-and-night long wait for the return of her partner. The film attempts to illustrate the persistence and resilience of women in the old days.

Sounds of Love and Sorrow lets the eerie sounds of the Paiwan flutes including the nose flute, which legend says imitates the call of the deadly hundred-pace snake, mix in with the recollections of tribal elders and traditional tales to present a rich background of Paiwan life in Taiwan. Tribal elders recall the days of the youth and their romances. They tell of the creation of the Paiwan people, and lament the end of tribal life, crushed by the irresistible and contradictory forces of government policies and alien cultural influences. Talking of love, both the charm and cruelty of a traditional society are revealed. For many of the Paiwan, love may be a high point of a young life – but it is also the gateway to sorrow. But in the end, it is the high spirits, the playful romances and the family spirit of the Paiwan which shine through.

The 80-year-old grandfather is suffering from senile dementia and his mental age has degraded to only 5 years old. Sometimes, he groans and talks to the air at home. There’s nothing much we could do. He seems to live only in his dream and gets deeper and deeper….

Wedding, a big event. It took place during lucky hours, following traditional conventions until the daughter left the house and female family members got in. People involved then happily raised their cup and said, "Congratulations! Wish you a destined good affinity, a marital happiness, a soon-born offspring, a harmonious union for a hundred years, blessed and felicitous." "Thank you!" replied the female family members, with smiles.

At the foot of a mountain, there is a one-hundred-year-old house. Closely connected with each other, four women decide to become a real family there. In their capable hands, they build a home for women in this once deserted house.

Mixing drama and documentary, After Raining narrates a love story between two male adolescents, interlaced with five radio interviews with gay men, lesbians, and a worried mother.