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Noah, Noah

Integrating home movies shot over six years of traveling with friends and lovers with postcards and flyers collected during past travels, Wu Chun-Hui takes us on a journey without end, a voyage searching for the origin of memory and infinite desire. Noah, Noah deals with relationships, distance, and memories, and turns the needs and desires that evolve from them into a cinematic experience. Trains departing, back roads roamed, navigating by water or air. It’s also about distance in filming, a distance from one image to another film roll, from one frame to another perforation, the distance from the real to the faded memory.

Noah, Noah

NR 2003
Ocean Fever

What is it about the Ho-Hai-Yan Rock Festival that attracts so many bands? Called The Ocean Music Festival in Chinese, this annual rock and roll contest was first organized by Taipei county in 2000. What is it about the festival that keeps the bands coming back year after year? What is that attracts hundreds of thousands of fans to pour into The Ocean to hear the music, eagerly awaiting next year's festival as soon as this year's is over? All the bands striving to succeed at this summer event comes with its own attitude, its own story. But what they have in common is a striving for the chance to get up on their stage and dazzle hundreds of thousands of onlookers, just like The Ocean does every year.

Ocean Fever

NR 2004
The Route

In 1995 five hundred dock workers in Liverpool were fired for refusing to cross a picket line, sparking the Dockers' dispute of the 1990s. In protest, when the Neptune Jade – a Mersey-loaded ship – set sail from England dock workers across the globe refused to allow the ship to dock and unload its cargo – first at Oakland CA., then Vancouver, Canada and then Yokahoma and Kobe, Japan. The ship eventually sailed to Port of Kaohsiung, Taiwan where it was disbanded and sold. Neptune Jade stands as a significant event in the dock workers struggle and of their international solidarity. In The Route, Chen re-presents history by interspersing archive film footage with new footage of a picket line staged by Dockers at Port of Kaohsiung. A symbolic connection between workers in Liverpool and Taiwan, the artist's home, is created, echoing the Dockers' phrase 'The world is our picket line'.

The Route

NR 2006
The Way We Write

Zhen Zhen and her single parent mother struggled with livelihood. They had a wish to own, a modest house that they could call home. In a Chinese calligraphy practice occasion, Zhen Zhen met Grandpa Liu, a lonely old man who then became her landlord-to-be by chance. Zhen Zhen started to reside at Grandpa Liu's house and became his finial protégée in Chinese calligraphy. Facilitated by internet communication, Zhen Zhen's help Grandpa Liu's homosexual son to return home and made reconciliation with Grandpa Liu to accept his alternative life. Zhen Zhen and her mother's wish of owning a house still floats in the air for the time being, but they persist to realize it with every little step they strive. The film talks about the true value of the family and the hope in which communication barriers amongst adults were bridged by a youngster's perspective. It is a heart smoothing story entailing how a child's innocence angle the web of complexity within a family.

The Way We Write

NR 2006
Empire's Borders I

Made in 2008–2009, Taiwanese artist Chen Chieh-Jen’s Empire’s Borders conveys the real-life experiences of women who have attempted to cross Taiwan’s borders: first, Taiwanese women denied tourist visas to visit the United States, and second, women from mainland China who have married Taiwanese men and have been denied permission to enter or remain in Taiwan. Shot on 35mm film in stark black and white, each woman relates her story in her own words. The bureaucratic settings for these short monologues recall the interview centre or airport immigration hall where the encounters originally took place.

Empire's Borders I

NR 2009
And Deliver Us from Evil

According to the Tao people’s traditional beliefs, illness was a sign of supernatural possession by evil spirits. Many patients thus became isolated, unable to receive any medical care. A native of the Orchid Island (Lanyu) where she worked as a nurse, the filmmaker initiated a program in 1997, recruiting some 40 volunteers to visit and care for homebound elderly patients against considerable social pressure. This documentary captures the powerful dilemma when traditional values clash with compassion.

And Deliver Us from Evil

NR 2001
Sisyphus: Formosa

This documentary is all about nationality, race, identity, trust, culture, and media contact between Taiwan and China, and the chaotic mind-changing of the author during the shooting. The team interviewed some young people who were born in the early 80’s, and conducted various questionnaires in order to find out how the new generation in Taiwan is thinking about this ambiguous political situation, and even how they think it should be solved. The most important and remaining question is about to be answered…or will it?

Sisyphus: Formosa

NR 2004
Treasure Island

Treasure Island opens with an animated fairy tale about a beautiful island filled with hidden treasures. As the tale unfolds, a parallel story takes place in reality—following two young women from Vietnam and Indonesia who are stranded in Taiwan, victims of human trafficking. They once believed coming to this treasure island for work would let them support their families and build a better life back home. But that fairy-tale dream soon collapses, overwhelmed by the harsh realities they must face.

Treasure Island

NR 2008
The Monster Is Coming

Since Taiwan’s opening of cable TV in 1993, the number of channels has increased by 30 times, including 8 24-hour news channels. TV news and newspapers are trying to fight for ratings, grab advertisements, invade people’s privacy, make up for news, and seduce gossip. Is there really no cure for this media monster that is damaging the eyes of the audience? Is publicization the last salvation for the failure of the media market? Through the interviews of a number of audiences from all walks of life and the experience of frontline journalists, this film combines the context of the media reform movement to sort out the root causes of media chaos and the possibility of prescribing the right remedy.

The Monster Is Coming

NR 2006
Let's Fall In Love

Hitting 30 and no husband in sight? Forget online dating. In this hugely popular documentary, Wu Wuna seeks out Taipei’s thoroughly modern matchmaker, Chen Hailun. She looks on in amazement as Chen fixes up the most unlikely couples. More therapist for individuals than broker between families, Chen nudges the men – “why not marry her?” – and reassures the women. The stories the couples tell might inspire you to believe in love and romance all over again. But you might also notice that Wu Wuna doesn’t seem quite convinced enough to engage Chen’s services for herself.

Let's Fall In Love

NR 2008
Shonenko

In 1943, the Imperial Japanese government announced a work-study program in its colony, Taiwan, to recruit children to work in military factories. 8,419 boys came to Japan... An one-hour documentary, Shonenko reveals the unknown stories of these child laborers (Shonenko), from 12 to 14 years old, who manufactured fighter planes in Japanese Naval Arsenals during the Second World War. They left their families, homeland and childhood with the dream of receiving an education. But their dream was to be shattered - first by the war and again by cruel post-war politics in Taiwan, Japan and China.

Shonenko

NR 2006