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One day after watching a film festival movie, I (the author) said to Chin-Chieh: "If there's nothing serious, I would like to watch another movie." That's when I realized I was classifying "go home" as a big event. February 23, 2023, I walked home on that day. On the way home, I noticed that it became quite ceremonial. The night scenes along the road, the memories of traveling with family, and the "failed" Super 8 images produced at home, all turned into the scenery of memories. At the same time, I also realize that when I am in the space of my home, I impose constraints on myself.

"The Chair" comes from an idea I had when I was little. I went outside to collect a lot of discarded cables and stealthily pulled out Mercedes-Benz badge from a Benz car. Later, I went home and put the chair upside down, decorating it with cables and the badge. I sat in the chair for a whole night. At that moment I believed that I had made a time machine. The event has been hovering around my mind for a long time. The desire of being an artist perfectly motivates me to do this work again. The chair may be a real time machine. At least through the process of reproduction, it connects my childhood and the present. By means of being positioned as an art work, the trip from my studio to the gallery literally becomes my time travel in reality. In this work, I am always interested in the part of A-side. In fact, it is the making of C-side, which comprises barren routine and unnecessary events. I want this kind of boring video.

REALIGN is an animated film about the dimensions of space and time. It depicts a boy who wanders confusedly around a room, the streets, and a lake outside a gigantic wall. After a time is corroded away by a thunderstorm, he decides to step toward the while line that bears all gravity.

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

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.

A man who was sexually abused by his father as a teenager, addicted to psychedelic drugs. He watched his half-brother enjoy a happy childhood, saw his father's love for his brother. All the hatred drove him crazy. He drugged his father with pure LSD，dress himself up as the devil. He was going to avenge his father in hell.

The language of dreams reminds us that the "reality" has long undergone the workings and transformations of the mind. However, the disparities between the dream world and reality may serve as a reminder of something profound. Through the dreamer's narration of the dream process and retracing events by following others' memories, the selection of scenes originates from real-life situations. In the interweaving of reality and illusion, a state of seeming truth yet non-truth is crafted, shaping the image of the departed as both present and absent.

In 1987, Su Ping-kun was found guilty of armed robbery and attempted murder, and was sentenced to 15 years in prison. In the era of Martial Law, he endured abuse and torture from the authority. In 2000, Su received a presidential pardon but still remained guilty in Taiwan's legal system. He refused to have a tainted name and continued fighting for over 30 years, just to clear his name.

Giraffe-like construction cranes are avid eaters. They forage around in the woods and fields for their feeds: the collective longing for development and prosperity. As they crane their necks longer, they make the fantasy of progress more alluring. And that is what Chung-Ming Wang steps forward to fight. Left his stable life behind, he devoted himself into local environmentalism in his hometown Tamsui(Danshui), tried to keep it distant from developmentalism that Taipei had been suffered for long. Few years later, he decided to change his way of political participation. This documentary film depicts his third attempt to run in the City Council Election in 2014, including the difficulties and conflicts he encounters and the diverse imaginations toward progress. The film also tries to brings up an important question: do we need more edifices in our city, or we need to find a way to edify ourselves?

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

In Taiwan, boxing for young students is an activity to tame naughty students, to diffuse their extra energy and keep them away from making trouble. The protagonist is a teenage boxer who is troubled by his puberty, delinquent peers, poverty and the corruption of the sports system.

"Vestige" is a 5-minute 2D animated short film in the form of a graphic novel combined with limited animation. Through intricate and atmospheric illustrations, the story portrays the journey of an artist in search of her long-lost childhood friend. As she walks through the war-torn and forgotten hometown of her past, the contrasting lives of these two women unfold, revealing their sorrows and loss in a bittersweet light.

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...

This documentary chronicles a strike of a computer memory due to the human needs for images. The automatic generated images by a mac and Davinci Resolve reflects the reciprocal relationship between the value of human labor and the so-called professional equipment, as if the work could be done without human involvement, it really is bullshit jobs.

This thought-provoking documentary explores how the Chinese government limits freedom in Hong Kong and Taiwan. Through extraordinary cases from the arrest of Beijing-based artist HUA Yong and the disappearances of five booksellers in Hong Kong’s Causeway Bay to controversial scandals involving celebrities CHOU Tzu-yu and Leon DAI, director Kevin H.J. LEE and Lulu LU argue that even ordinary Taiwanese citizens may not be as politically and economically free from Beijing’s influence as they like to believe.

By constructing, re-filming and hand animating the photographs and objects, island is no more an geographical term, but a state of mind, in which the film as a process and medium to express nostalgia and reexamine my relationship among land, nation and identity.

In a normal quiet Sunday, Dr. Evil Mantis attacted K-City unexpectedly with his gigantic claw, the entire city in panic and in danger. At the very critical moment, one young man stood out and fight the Dr. Evil Mantis. This is the moment for the hidden superhero, and his secret power is about to turn this chaos upside down. The Legend is about to begin...

Nine years ago, Liu and her family were asked to move out of the place that they rented for ten years in fifteen days. This documentary examines how they become separated and the importance of home to the family.

Chattering school boys first learn of the secret of palm reading. They stare at the overly short lifeline, all of a sudden, the fear of death seeps into their youth. The black and white images exude repression and melancholia, mixed with the angst for mortality and the memory of deceased loved ones. Time flies by like the train speeding past town. With the desire to live, the boys run forward, attempting to break free from destiny.

A graduate student of History Department meets a hooligan who works in Taiwanese parade formation in temple fairs when the student is doing field studies. They are completely different in character. One is composed and calm but the other one is aggressive and bold. After they spend a summer together, the chemistey gradually develops between them…

A same-sex couple, He Jie and He Yun, deeply in love, face the challenges of living together. Their differing personalities and habits create tensions, with He Jie being more reserved and rational, while He Yun is expressive and spontaneous. As they navigate cohabitation, the couple struggles with communication, compromise, and emotional growth. The series explores how they learn to adjust to each other, balancing their love with the realities of daily life, and how living together tests their emotional bond while revealing the complexities of modern relationships.

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.

Where do we go when we zone out, and how do we find our way back to reality? Sense of Nowhere is an invitation for the audience to explore the subconscious, piece together hidden clues, and find their way returning to the present moment.

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.

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?

During the filming of a film crew in the studio, almost everyone was exhausted and exhausted for several hours. There were communication barriers and many bad things happened. Everything was turned to the director. The director finally lost his temper and left the studio. Go outside to smoke a cigarette, and when you go back again, everything has changed like a dream.

It came as a shock at the peak of her artist career, HSU Su-chen died of cancer. She went cross-disciplinarily in a short 14 years of her creative life. From early work such as “Self-Portrait” revealing multi layers of her own images to “Plant-Paradise” which collaborated with many people of different expertise lead her to the winning of Taishin Bank Arts Annual Award. HSU always walks out of the box to touch all of us from deep inside herself to ordinary plants as well as neglected communities in foreign countries. Every step of her attempts raised applause. This film assembles HSU’s talks and images of exhibitions of different locality spreading world wide including Vietnam, Micronesia, Australia and footages photographed by her personally at many places in Taiwan. It tells an extraordinary story and unseen visions of a distinct artist who endlessly discovers real issues of human life.

In the historically most famous ancestral house of the matrilineal Amis tribe in Taiwan, the carved pillars tell legends, such as the great flood, the glowing girl, the descending shaman sent by the Mother Sun, and the father-killing headhunting event. After a strong typhoon toppled the house 40 years ago, the pillars were moved to the Institute of Ethnology Museum. Recently young villagers, with assistance from female shamans, pushed the descendants and village representatives to communicate with ancestors in the pillars. They eventually brought the ancestral souls rather than the pillars back and began reconstructing the house.

A true story about a young Siberian White Crane who got lost with it's parents in the seasonal migration and arrived Taiwan.

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.

The physical and mental journey of young girls during menstruation. Menstruation is a metaphor for this cycle by the train. Flowers that show a bud state will regenerate countless times, each time. Flower picking is a sign that the girl is ready for the start of her period. The cycle of the girl's physical and mental state will be repeated every month. They all will come again, the monsters of pain's embodiment, the fear of self, and external pressure.

Tao litterateur Syaman Rapongan bridges the bond between father and son through the Tatala and his writing, preserving the memory of his people. Spanning seventy years, the film interweaves footage from different eras, evoking the spirit of the language and culture rooted in the sea and the body. Along this journey, Syaman Rapongan learned and borrowed a foreign language to tell the story of his own people.

A girl lying in her room in Taipei gets bored and goes to sleep. Heavy rain starts, and the story goes into a dream world. She mounts on her bed and starts her trip guided by mice. The background music is Maiden’s Prayer which she finds played by mice. After diving into the water, she starts dancing with the mice.

Starring Chuang Ling and with cinematography by Hu Qi-Yuan, The Joy of Life consists of closeup shots of technically speaking only four simple gestures of pinching on a sugar cube, drinking coffee, lighting a match, and smoking a cigarette, and it is without any lines or specific plots.

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.

When taking the train home, I always feel that some parts of myself cannot keep up with the moving carriage, and I feel that the order of my mind is also disrupted. The trivial matters that happened during this period began to appear in my mind, and the boundary between reality and memory began to blur…

Lu Bin, a taciturn young man who has recently been released from a juvenile detention centre, is assigned to learn cooking at a culinary school. On his third day under the instruction of the head chef Ms. Li, a sum of money disappears from the school office. The teachers at the school turn their suspicion to Lu Bin. While Ms. Li is a strict teacher to Lu Bin, she also sympathizes with him. If Lu Bin is identified as a thief, he will be expelled from the school. Two teachers decide to investigate further, and Ms. Li is forced to face her suspicion of Lu Bin, along with another unexpected secret.

This is a story about a father who drifted from New Zealand to Taiwan to look for his missing son. Although his son was never found after many fruitless searches, he gained love and friendship from many Taiwanese. This documentary tries to trace a father’s journey for searching his beloved son as well as to present how he recovered from his initial pain of losing son and turned it into his love for Taiwan at the end.

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.

This work is an argument initiated with Wendy Brown’s article Resisting Left Melancholy. She applied Walter Benjamin’s notion of “Left Melancholia” to see the political thoughts and the norms in the left-wing movement/ theory traditions as the notion of melancholia. There is the thingness of the thoughts that can see as the lost object. Extends this idea, the thingness of thoughts, come from one’s personal or collective memories could become the pathological fixation.

Having grown up in the mountains Chiayi, installation artist WANG Wen-chih weaves his memories of mountains and forests into his work. Using natural materials such as bamboo, rattan and wood, WANG creates his art with hands and collective labor. The huge spaces he constructs emit such deep and strong power that surprise and move countless visitors. This film follows WANG on his journey of creation.

The line between life and death is deeply imprinted in my childhood, I remember a vivid memory of sunny days, a bucket of water almost full and a half-submerged new mouse in a cage wanting freedom, until it was exhausted and surrendered to inevitable death. The music used in this work is the German folk song Ach, wie ist’s möglich dann. In Taiwan folk culture the song was often performed at funerals, an interesting and absurd contrast to the song’s original use in the 1935 German literary film as the soundtrack for a love story. So Zhang choreographs a dance performed to this German folk song about death.

Scottish photographer John Thomson's trip to Taiwan in 1871 left an important mark in the history. This film reinterprets the event via a photo of a hunter, taking the audience to the Siraya tribe to meet WAN, a tribe elder who knows how to sing and talk. Through his intriguing words and songs, WAN leads us back to the past as he plucks the strings.

In a society where thought is tightly controlled, children within the Asian education system are taught from a young age to become "perfect melons"—obedient, quiet, and indistinguishable. This experimental animation uses the metaphor of a watermelon to expose how conformity is instilled and individuality erased. It reflects on generational conditioning and questions whether we can still remain who we truly are.

Two friends go on an adventure, gathering all kinds of ingredients to cook up an epic meal!

In this story about friendship, a ragtag fellowship on a journey to the West support and help each other to overcome obstacles and conquer their mission together!