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My father often jokes that he's both a police officer and a hunter. While he has a busy job, he always returns to the tribe on his days off— to check traps, clear the water source, and weed the land.This film documents the time we spent together at the mountain spring. Step by step, he passed on his knowledge of the forest to me. I came to realize that he was trying to hand down the wisdom of my grandfather — how he drew water and lived in harmony with the land.

In war-torn Myanmar, 2025, a bread factory trapped on the front line faces a power outage and an indifferent boss. As explosions draw near, the supervisor calls a vote: stay or flee. Some hold their ground, while others quietly depart—hope, fragile yet enduring, traced delicately in icing and flour.

Blüte explores from the female perspective a woman’s first tinge of love which colors her teenage heart. Every woman has the right to love and be loved, so please be proud of your courage to chase after love!

Due to a drought that has occurred only once in a hundred years, the people of the Gaeryong and Gangho regions are plunged into misery. Upon this, Great Master Baekseong urges Geum-bung to find the Night-Glowing Pearl. Geum-bung meets Jung-yong, who was born as a dragon and was then transformed into a human, and sets off for the Gaeryong region to help him obtain the Night-Glowing Pearl and save the people. The film is a South Korean remake of a Taiwanese film titled Sea Gods and Ghosts, which this film also pilfers footage from.

In 2004, when an outbreak of H5N2 bird flu was first reported in Taiwan, Taiwan bureaucratic system insisted that this case was caused by chickens infected by migratory birds, but after investigation, the truth is unscrupulous businesspeople smuggling bird flu virus strains, invent and sell the illegal manufacture of vaccines. After the failure of the production, this vaccines resulting in a pandemic spread over whole henhouse. To unveil the truth, director began collecting samples from henhouse in 2006 and this six-year long investigation, never find the way out until the March 2010.

This movie describes the process of two girls, separated after entering different "social freshman" stages one year apart, and the process of proximity, life, companionship, and understanding between them over the course of ten years.

This is an Asian epic documentary on migrant workers spanning thirteen years. Director Jasmine first came into contact with Filipino caretakers in the Taipei nursing home, where her grandparents were under care. Living away from their loved ones, both the Filipino caretakers and the elderly residents suffer from homesickness. Stories of joy and sorrow take place between them. As wives, mothers and migrant workers, the Filipino women are smart. They know how to survive. And yet, the road home seems to grow longer and longer.

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.

An unknown disease is striking to younger generation, the patients are going to lose the sense of reality and the memory of themself. We following a girl who got her new name 'OK' and she is going to figure out what's going on.

We stepped on Orchid Island (Lanyu) because of an ancient chant, which is the earliest sound of the Tao people recorded by Japanese scholar Kitasato Takeshi in the 1920s. Our filming journey, a 3-hour boat ride from the southeast coast of Taiwan, became a heartfelt exploration of the island's intersections between old and new, tradition and modernity.

A woman is abruptly called back home to take care of her mother, interrupting her in the process of committing suicide. The family’s past is gradually revealed through the revelation of the details about the relationship between the mother and daughter.

Focusing on a middle class family in present day Taipei, each of the family members experiences struggles and sparks of change happening their own daily lives. While unable to share their inner emotions, they could still read between the lines, and sense that there are something yet to be said. In the family, Jia-Shiang, Jia-Chi, the Father, and the Mother, all have their individual ‘homework’ to be solved.

This is an 8mm and 16mm experimental film made during the year of Covid-19 around the time I moved back to Taiwan from Japan. I shot 8mm footage during the state of emergency in Japan and just after moving back to Taiwan. I then spent several months cutting and pasting each 8mm frame onto 16mm film. Sometimes the daily fragments were too sentimental, but the film gave me shelter.

In various religious rituals and philosophical mindsets, the emphasis is often placed on "transformation." Within the realm of inner knowledge, such actions are referred to as "alchemy of consciousness."

Danny, who dreams of being a star in Hollywood, makes his living as an escort. During the day, he wanders around in extraordinary clothing. At night, he plays at bars and discos. His beauty attracts cravings for him from a wealthy married woman to an award-winning producer. His gay friend shows affection to him as well. Everyone yearns for having him, but he loves nobody until he meets an adorable girl Trissy one night. Love and sex drive the two into ecstasy. However, the burden of intimacy also raises the question: could the lascivious nature be tamed with devotion?

The story is from director’s childhood memories which depicts the reduction of humanity by military government during the martial law, the colonial culture as well as the digital era into a story beyond reality.

How have one poet and his single book of poetry from the last century continued to inspire people today? A Life That Sings follows the legendary poet Ya Hsien from Vancouver to Nanyan, to the mobile library from his childhood and to the basement of his current home. Through his collection of books and love letters, the film unearths the treasure trove abound with stories of Ya Hsien's life.

A documentary of the life story of a violent and bloodthirsty young man from Kachin, Myanmar, who casually discusses killing as if it were not his own story. His past of a non-voluntary, military life has cost him a great deal and completely changed his post-military life. With all the wounds and experiences, he is now considering which path to take for the future.

A judge observes the letter of the law, doesn't take bribes and will sentence a prince to death if necessary. And that's just what happens...

My work is an attempt to combine the relationship between historicism, commodity totem worship and political semantics. I do not intend to respond to questions about political correctness, but also try to show the unsolved issues of art itself. What I care about is how they find enough channels between history, reality and the public. In short, my creation is the crystallization of personal complexity. As long as the perception that can be obtained through the idea, it can be regarded as a style in the development of my personality. All the warriors related to experience may become artistic associations. They are the result of profound meaning and endless reproduction. There is a mysterious place. ---Dean-E Mei's self-report

It’s supposed to be an energetic morning, but Zhe, a real estate agent, feels suffocated and oppressed. With nowhere to go, he heads to a house that he can’t sell and calls for an escort, unexpectedly opening up new possibilities for both of them.

“All sadness leaves a trace of happiness. All regrets leave a corner of satisfaction.” When an all-powerful repairman meets the girl who has incurable disease, a love story destined to be imperfect re-defines their relationship and regrets.

The final chapter of the Taiwan trilogy, exploring the long-term effects of cultural education during Taiwan's military dictatorship.

On a winter evening in 1979, the arrest of anti-government protesters is underway. The city is under curfew, but a teenage student, out of curiosity, follows a mysterious young man from a riverside path into an abandoned hut. Living in Taiwan under martial law, are men constantly escaping from government, society, or the affection buried in their hearts?

Kim is a new lawyer who gets a difficult case of helping a lesbian couple to adopt a child without any support. He knows that this going to be a long and tough process, but he is still willing to take it. Kim meets Allen who is just like a brother of his clients Queen and Mang. He also gets acquainted with Shi-Li, who comes from a family that has two lesbian mothers. Kim realizes that there are many heart-breaking stories behind the smiles of gay and lesbian people and gets involved with many people's life unexpectedly.

Jeui is a teenager who lives in Tamshui, near Taipei City. Jeui never liked to go to school. One day he meets Old Man Shu on a train to Tamshui. Jeui decides to run away from school and spend the day with him on the streets. Accompanied by Old Man Shu, Jeui wanders about in this small town. Jeui loves to play the suona, and falls in love with a sales girl working in a record store. Old Man Shu tries to help Jeui without letting him know. Through Jeui and her do not turn out to be a couple, they share a good friendship since then. However, there are some misunderstandings between Old Man Shu and his children. One day he disappears after a quarrel with them, causing everyone to worry. While looking for Old Man Shu everywhere, Jeui realizes how important he is to him. When Jeui finally finds him, he is sitting alone by the river bank Jeui's care and comfort cheer up Old Man Shu. This is a story of friendship between the young and the old in the small town of Tamshui.

To escape her father's violence, running away has become a familiar part of Chou Mu-ding's life. But on her birthday, she makes a quiet and yet resolute decision to stop fleeing and finally confront what she once feared.

An archival student film directed by Taiwanese novelist Qiu Miaojin regarding a young man's complicated relationship with his deceased sister, based off of her serialized short fiction of the same name. Also called The Revelries of Ghosts.

A young martial artist battles three traitors to retrieve a list of Chinese citizens who are collaborating with the Japanese during their occupation of Manchuria.

An arrogant young kung fu master engages in vigilantism in order to avenge the death of his master.

The work connects Taiwan’s first lost film from 1907 with today’s film industry struggles, exploring how history is remembered and forgotten. Through exploring this long history, the work shows a constant but hard-to-reach yearning for progress and understanding. In his films, Yao-Yi Wang blends real and imagined stories to show how people keep longing for progress, even when life feels stuck or incomplete.

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.

Before the pandemic, I did a series of street shoots in Wanhua, a place out of my comfort zone. Then, I got Covid-19. During the quarantine, I looked back at the photos, wondering if the people are doing well or not. I seemed to have a shared time with them, so I returned to Wanhua with the question: Do you know where is Zhen Zhen now? I let the residents tell their stories.

Moms are unsung superheroes. They work 24/7, 365 days a year, with no paid time off. They take care of household chores, look after their children, try to finish their graduate degree, and maintain a marital relationship. Twenty-four hours a day is hardly enough for them. Writer-director-mother Chuan-Ying Liao uses a GoPro camera to record eight days of her life as mother.

After Alan’s dad left for work and didn’t return, Alan remembered the Chinese mythical beast his father had once mentioned. He began to worry that his dad had been eaten by one of these creatures. So, Alan set out on a journey to find his dad, hoping that Arbi could help him rescue his father and uncover the true face of the mythical beast.

The maritime life and the complexity of matters, which include conflicts of interest, in one of the busiest waters in Asia, the Strait of Malacca, are accumulated through bodies. The other side of stories from archipelago was assembled and retold by Irwan and Tita after they conducted visits to several islands in Riau Archipelago, especially to Batam Island, a region that was once planned to be converted into an industrial area in 70s but now is facing the most serious challenges created by social problems.The region is tangling with interests and power centralized in Java Island which has created uncontrolled distortion.

Adopting a pseudo-documentary format with a film-within-a-film metacinema approach, it portrays the onsite filming and behind-the-scenes during the making of Spy Love.

Taiwan in the year 2000, only thirteen years after the lifting of Marshall Law rule and still an unruly place referred to by many as the “Wild, Wild East,” provides a perfect setting for The Taiwan Oyster. Masquerading as a bender road-­‐movie, the darkly comic film explores deep existentialist questions as the protagonists journey deeper and deeper into the Taiwanese countryside. Darin and Simon’s quest for the perfect burial spot becomes a strange trip down Taiwan’s picturesque East Coast Highway as they encounter the unique cultures of Taiwan, welcoming families, violent gangsters, and Nikita, another lost soul who joins their odyssey. Along the way, they explore the Southeast Asian ex-­patriot experience, their own personal demons, and the universal questions that arise when one is confronted with an untimely death.

“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?

How does a dream become a reality after 10 years? Prof. Cheng and his students at the National Taiwan University built a solar car, and the team competed in the 2005 World Solar Challenge in Australia. They overcame great difficulties along the way, and achieved fifth place in the 3,000-km race through the Outback. However, the finishing line was certainly not the end of their story. For More Sun II continues their story and shows us where they are heading NOW.

We found Ishikawa's sketching route by following the 1909 travelogue of Kinyichiro Ishikawa's "Tataga's Memories" (タッタカの思出): the Nantou mountainous area was once a battleground for the aboriginal people and the Japanese army, and because of the need to contact the farm for filming, we learned that in 2016, the Meifeng Farm in Taichung University accidentally discovered the site of the garrison in the park, and so we decided to take the members of the Southern Art Association and their friends to go there and make a two-day and one-night sketching tour. The trip was a two-day, one-night sketching tour. For this sketching trip after 110 years, a few young Sedgwick men working at NTU's Mountain Experimental Farm cleaned up fallen trees and weeds in the park after the typhoon, and worked continuously in the forest, waiting for the upcoming team of painters and a team of photographers.

After the typhoon, it rained again. A young girl ready to end her life and a middle-aged man grieving his dog's death briefly meet while seeking shelter from the rain.

Since creative activity is often associated with "those with surplus time and resources," political prisoners who dedicate their labor to outcomes unrelated to survival might seem to waste their time and strength. Yet, the deprivation of social roles, the coercion of total authority, and the abolition of existing orders all contribute to an intense need to establish an alternative order of one’s own. The semi-artistic practices performed by political prisoners can be seen as an attempt to reclaim or redeem their “normal lives.”

"A Love Letter to Oneself" describes six young men and women who play roles that are 80 years apart from the Japanese rule and the Republic of China era, concatenating the different identities of the 1930s and 2010s, comparing the two The generational differences in occupations, lifestyles, concepts, and political environment profile the influence of the development of Taipei’s West District on Taiwan’s history.

Xijiyu, a village on Taiwan’s offshore island of Penghu, became uninhabited following a government-mandated relocation in 1978. Through image, sound, and 3D animation, this film recreates the village and its famed “King’s Boat” ceremony.

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.​