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Dremedrema is the chief heir of her tribe. Being the eldest, she therefore, must accept her inheritance of the position and status according to the tradition.Though her mother and children hope that she would disavow the obligation. Even Dremedrema had run away from her tribe once, her ancestral spirits has never given up on her. She is a tribal chief who doesn’t speak the native tongue. At the same time she is a devoted single mother of three. She is a chief without her traditional tribal family house, unable to live within the tribe. She misses home. But despite ten years’ effort, it is a home that she cannot easily return to.

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.

A pregnant woman awakes at the start of a day. The camera invites the viewers along with a placid, light-feeling view, as she goes about her day, taking into view unhurried pedestrians, tricycles, a traditional market place, and a plain city still unencumbered by high rise buildings.

Why did you draw? How did you begin to draw? Why did you stop drawing? How did you go back to drawing? Will you keep drawing?

This film captures some changing moments that took place in Hong Kong between 2018 and 2021. The changes in the landscape of our city are also a portrayal of the author's inner heart - cold rain, hot fire, and continuous loneliness.

One day I asked my aunts and uncles about my grandpa. They said Grandpa was a gold miner, a trainee, a businessman and a hero. The stories they told are so difficult to imagine.

As night deepened and all was quiet, Shuming cried out his lover's name, drawing the audience into a whirlpool of memories. He encounters Fang Jiang, a single mother, yet both carry their own unresolved family burdens. Fang Jiang is pursued by the married Wen Sheng, while Shi Ming's wife, Yuan Yuan, though sensing something amiss, feels sympathy for Fang Jiang. The desires, guilt, and realities of married men and women tear at every sensitive heart. This film piles up melodramatic tropes to a breaking point, its devastating impact is astonishing.

An unfinished housing complex has been abandoned. The imagined future from the past is taken over by foliage and wildlife.

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.

After family chaos from his brother's death, Xuan tries to hold things together. Months later, while his parents visit the Spirit Bone Tower, Xuan sits alone in the car, quietly staring out the window, lost in his own world.

The sound engineer, Tree, has a crush on their producer, Cindy. During a pause between the scenes, the lead actor goes missing. The film crew grumbles at each other, and no one wants to take the responsibility. Then, the most weird thing happens.

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.

Kwang, who is moving from Chiayi to Taichung, met the mistress of his father. At the last night in Chaiyi, two people not knowing any thing about each other started a journey together and tried to search answers of their hearts.

A couple, through a twist of fate, are forced to confront each other’s true desires.

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.

Hsiao Le tries to reconcile with her friend by inviting her to fulfill their old promise to set off fireworks at the summit of a mountain. Through their conversation, she realizes that the changes in their lives are irretrievable, forcing her to confront the reality of their altered relationship.

A feature film directed by Chi-Ming Lei

"We passed an empty field, in which a person was standing motionless, head down, and soaking wet in the pouring rain. The rain and darkness made it impossible to tell if the person was male or female, no less determine why he or she was standing there, but the ambiguous gender and loneliness of this image still drift through my mind from time to time."

No one should have to ask what a drag king is. In Taipei, a unique community of drag kings has emerged and has been growing since 2019. Liting ‘LT” Tan is a drag king from Singapore who came to Taiwan to be in an environment that has allowed them to live authentically. Over the past few years, they have become a grounding force in the community, pushing for a space where kings can thrive. After a challenging marriage, Taile sought out a queer community to be a part of, and that is how they came to meet LT. Rose is a captivating performer whose persona sits successfully as a caricature of masculine tropes. Drag has allowed these individuals to push boundaries in ways they never thought possible. Follow a journey of freedom, empowerment, and self-discovery through these three.

We always play as a peeping Tom and the one peeped, releasing ourselves while learning messages from others’. Therefore, we need to have a dialogue with ourselves by recalling past in the end of the journey, in order to sum up the honest self and continue moving forward alone.

A little boy goes to the rooftop of his building, his secret getaway and an open door to other worlds he is not yet aware of.

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.

Xiao Liou has gone missing in a summer adventure in the woods with friends. Everyone wants to know what has happen to him, but the truth is buried deeply in the chirping of cicadas, in the babbling brooks, and in the children’s guilty minds.

The pastor is shamed by a demon lady that comes in his bedroom (a pigeon is thrown the window and it morphs into her). He can no longer help our hero Brother Vincent. Natasha goes to the spirit world and sacrifices a cat to the little demon to take control of Vincent, and they are married. Not is all well for Dufie and Natasha however, as Vincent gets sick and is taken to the hospital. Vincent's father is very suspicious, and on the advice of the doctor takes Vincent to a Prophet, who sees the witch and can do nothing. At some point the father figures out what happened to Vincent, and the witch shows up (a turkey is dropped off the roof, and it morphs into her) and she throws fireballs at him. Then Vincent is taken to a evangelist priest where a 10 minute laser and fireball ensues as the witch shows up to keep him from being saved. Pure awesome. Dufie is now a more powerful as her soul was taken by the witch, and Natasha is saved by angels before she is killed by the witch.

We are comforted by facts, by the familiarity of things we know to be ‘true.’ The sun rises in the East. There are twenty-four hours in a day. I exist. These truisms simplify our lives, enable us to get through the process of living. We are not afraid to leap into the air, because we know we will land on the ground. So we get by, day by day, until that unexpected moment when we are overwhelmed by the whisper in our hearts as we are sitting in a bustling coffee shop or walking down a crowded sidewalk, or as we are lying in bed with a loved one, nestled together... Despite all of our knowing, we will never be known. All That Remains is a meditation on the fluid boundary between dream and reality, fear and desire. It is an invitation to see and be seen.

Eighty years after World War II, memory clings like frost to glass-blurred, fractured, yet never fully fading. Filmmaker Ming Chun retraces the forgotten journey of Taiwanese soldiers conscripted by Japan, captured by the Soviets, and exiled to Siberia. From departure and defeat to captivity and return, he follows a path of war and displacement-toward a home that no longer felt like home. Across Taiwan, Japan, and Russia, he searches for traces of their lives-abandoned camps, fading photographs, fragments of memory-while opening a dialogue across three generations: elders whose recollections falter, children burdened with unanswered questions, grandchildren confronting fractured identities. When history falls silent, what do we hear? And where do restless souls finally belong?

Dedicated to the sisters who fought back with the last strengths in them, The War of Roses documents the struggles and aftermath of four women in different environments that encountered sexual assaults, shedding light on the underlying structural violence sustaining the unequal power relations in gender.

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.

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.

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.

Scriptwriter Ah-X takes good care of his plant, Xiaojie. While Ah-X is writing, Xiaojie is the only one accompanying him. While Xiaojie grows bigger, Ah-X also starts to change little by little. Until one night, everything is losing control. Implantation is a short film which skillfully combines stop-motion animation and 4:3 film format.

Local junk vendors yell the phrase “Sell them to me” repeatedly as they walk from neighbourhood to neighbourhood looking for unwanted household items, typically scrap metal, tools and electronics.

In northern India's Dehradun, an all-women police unit tackles troubled marriages with unexpected wisdom and authority. Inside the bustling station, couples confront domestic turmoil while the officers balance tough love with surprising moments of humour.

The story revolves around the peculiar relationship between a princess, a castle, and the Bug King. Through a fragmented narrative style, the princess's yearning ambition for her past kingdom is personified, transforming into the Bug King, a being of only faint power. He becomes a surrogate for the princess in reviving the kingdom, creating an imagined fantasy within a forest of strange creatures.

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 the heart of White Shirt lies a sword technique, a stone staircase, and an archway, symbolizing his unfulfilled desires. During an examination, his master confiscates his sword, leaving him frustrated. To clear his mind, White Shirt descends the mountain, unaware that a true trial is about to unfold.

Hong Kong is facing tyranny, and a pair of brothers are marching on their own ways in the revolution. However, the horror is approaching, and it’s like this city knows everything, it reborns after it collapses. There seems to be a huge energy behind this, asking inwardly: What is the fight for?

Before the family home in Shalun, Taoyuan, was demolished under the Taoyuan Aerotropolis redevelopment project, the director's mother passed away unexpectedly. Yet in her absence, the family's long-fragile order seemed to stabilize, even appearing strangely "happy." This subtle and difficult truth compels the director to repeatedly return to the old house on the verge of disappearance, insisting on bringing back her father and brothers, who are trying to move on. As the boundaries between filming and being filmed blur, differing attitudes toward farewell gradually emerge, and long-suppressed memories begin to seep through. The director is left asking herself: Is this an attempt to preserve memory, or a way of trapping herself in a cycle of loss from which she cannot find closure.​​​

Since 1995, the TransAsia Sisters Association has been a pioneering force in supporting immigrant women in Taiwan, especially marriage migrants. What began as a small literacy class has grown into a vibrant community that empowers women to organise, speak out, and advocate for their rights. The film explores the struggles of belonging, the strength of sisterhood, and the quiet power of everyday resistance. From street protests to storytelling through food and culture, the Sisters continue to reshape the narrative of migration—one voice at a time.

The film begins with a conversation with the grandmother, tracing back the gentle, intricate, bittersweet, and hard-to-express emotions between mother and daughter. It moves between the reality of daily life and the imagined scenes from memories.

The Malaysian father, Beng Soon, came to Taiwan to investigate the disappearance of his son, Kah Choon. During the process, he gradually realized his lack of understanding towards Kah Choon, while also discovering the changes in Kah Choon.

A boy's adventure in the ancient temple where were burned by the mysterious reason.

A reporter is following a story, but realizes gradually that he is becoming a character in it.

Using Malaysia’s national flower, the big red flower (the red hibiscus), alongside non-native plants in Taiwan as characters, this collage illustrates the experience of Malaysian Chinese living in Taiwan. Trapped between dual identities and the language of others, they search for self-definition and a sense of belonging. Through the perspective of plants, the work reflects personal life experiences, with the hope of breaking down the boundaries between individual, national, and identity definitions.

A-Zhi returns home to Taiwan for the first time in many years just as his younger brother, A-Yong, is leaving with friends for “huan dao,” or a round-the-island scooter trip. An accident with A- Yongʼs scooter causes them to spend time together in a dysfunctional reunion.

In a dystopian world, the power of speech is the bond between a man and his daughter.

Based on actual events, this human tragedy follows a 12-year-old child soldier, Su Su Myat, and her mute brother, Tin Min, who are imprisoned after deserting their first combat mission. Punished with no food or water, Su Su Myat is forced to choose between killing her seriously ill brother for her own survival, or risk dying with him.

This is a journey in which the creator of this documentary tries to find the origin for his creation. While driving on the freeway to Puzi, Chiayi County, WU Yao-tung and Tom continue a conversation left unfinished two decades ago. The dialogue falters; clearly they live in two different worlds. After traversing this journey for 20 years, the dark spectre entangled within the depths of the mind is never driven away.