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The Microphone Test series is named after writer Huang Guo-Jun’s work Microphone Test. Two months before Huang committed suicide, he wrote an essay in epistolary style titled“To Mother,” in which he expressed his intention to kill himself to his mother. The writing style is filled with black humor and expressive quality, but he killed himself two months after he wrote this letter, and he did not leave any suicide note. Microphone Test: A Letter to Huang Guo-Jun is a video letter to Huang Guo-Jun. Through conversations with Huang’s works created before he died, the letter depicts private family memories of three good friends, and attempts to portray what in fact belongs to the artist, or perhaps everyone’s memories through the memories of these others. Or perhaps, what is important is not whose memory it is, but the process that memory is constructed and viewed.

Feeling stressed by the hardships of city life, a man seeks the services of a masseur. In the process, he ends up forming an unlikely bond.

Over the past 20 years, there has been too much comment on the merits of education reform. This film visits education reform advocates, administrators, critics, as well as teachers, students, and parents, trying to review the historical significance of education reform, and analyze the difficulties faced by education reform and the underlying factors behind it. In terms of form, humorous talk shows are used to emphasize lightness; in terms of structure, elementary school classrooms are used as a guide, so as to help students solve the problems, and go deep into the core of education reform and Taiwan's social and cultural reform.

“My Life Against Taiwan Sotofuku – 1891~1931” is Taiwan’s first biographical animated documentary. The film combines animation, archival photos, footage, and sound theater to recreate the heroic epic of CHIANG Wei-shui, the “the Savior of Taiwanese People,” during Japan’s colonial rule of Taiwan. Through first-person flashback narrations, Taiwan’s pioneer revolutionary CHIANG Wei-shui tells the turbulent tale of the rise and fall of Taiwan’s non-violent anti-Japanese movements, as well as a lifetime of remarkable resistance against Taiwan Sotofuku (Japan’s colonial government). Cast

On the Way Home follows a man on his way home on a rainy night, while cross-cutting the happenings after he returns home: doing laundry in a flooded bathroom, drinking tea, reading, and repeatedly opening and closing the door.

Wa-wa was my college classmate and we were in love. She dreamt about opening a shop at that time, so we returned to Guishan after graduation to fulfil her dream. I began to document the process with my camera. In the end, the dream was fulfilled and yet the dreamer was forever gone.

SLow is a video artwork based on a performance, that shows the defenceless human body surrounded by machines, systems, etc. Karel noticed that in Taiwan, like in other Asian countries, there are strict rules people (have to) live by, and that these rules can not be easily put aside. Slowly but imperturbable the boy in the video follows his own path.

A daily gif created over 100 days.

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.

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.

Fedati lives in a small room nearby Taichung train station, in which she makes Indonesian food and clay craft; it is also the favorite place of her migrant sisters in the area. They share about work as a domestic helper and a factory worker; they talk about being homesick and how much they miss their families. The journey of Fedati in Taiwan has been recorded in this 16 square meters room. She started as a domestic helper, and later became a clay artist, a migrant culture activist, and an owner of a take-away Indonesian food business. To be even better, she joined a master program in a university in Taiwan. In her room, we can have a peek into the possibility and vibrancy of migrant lives in Taiwan.

This two part documentary film, "+ two degrees Celsius -- the Truth Formosa (Taiwan) Must Face" focuses on the effects of climate change in Formosa (Taiwan) produced by famed Formosan (Taiwanese) Television host Sisy Chen.

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.​​​

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.

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.

Between Mount Kavulungan and the Gaoping River, history streams across the wilderness, coalescing the values and identities of different peoples. So begins the Pakedavai family ritual. As an 11th-generation descendant of the Pakedavai ruler family, Dabiliyan Alifu grew up in a family slate house in the Sandimen tribe. For him, the family is a constant source of education about how to live with the forest and what kind of person to become. Of Pakedavai’s 12th generation, Kang Yuan-Jin grew up in a traditional Chinese community with a Paiwan grandmother and a Chinese grandfather. Only in adulthood did he start to explore the meanings of family and personal identity.

A frank and candid portrait of the lives and family relations of three gay teenagers in Taipei. One breaks up with his boyfriend before going abroad to study, the other craves for love, and the third one moonlights as a crossdresser. A bold statement against norms in a Confucean society.

A bold and crazy director, an extraordinary photographer, two vocational film students decided to use real Titan monsters to shoot in order to complete their final project film...

"People who have been abandoned by their family can only seek reunion with their second parent." Mads, a depression sufferer, is not accepted by her family. She wanders to find where she belongs and who will love her. After a failed suicide attempt to jump off a building, her life swings between the chaos of her symptoms and fleeting moments of happiness, continuing her journey with trauma and sequelae. Will she find the “haven” and be accepted by society this time?

Blue Sun reflects on the 1984 mining accidents in Northern Taipei and their enduring impact. Inspired by the works of Taiwanese novelist Tong Wei-Ger, the performance explores how these events continue to shape memory and identity.

Four men enter a bidding match for an everyday item, a pencil. All of them would go to extreme lengths to acquire it.

This experimental animation made out of multi-techniques, to explore the new possibilities of mixing the stop motion and computer graphic images in animation making.

The Guardian Lions of Fushun Temple reminisce about the annual Lantern Festival and Budaixi puppet show.

Kinmen is a group of islands governed by Taiwan and a solid base for the capitalist camp during the Cold War era. Kinmen commenced its construction of military fortifications in 1958, with millions of soldiers stationed on the island. As the USSR communist bloc gradually disintegrated, Kinmen began a large-scale withdrawal of troops in 1988, placing the lives of the island’s 50,000 residents in a predicament after having relied on soldiers to earn a living for so long. With the improvements of cross-strait relations, large amounts of Chinese tourists now flood the very islands they once rained countless bombs on. Tourists from both sides of the Taiwan Strait now take group photos in front of fortifications, but will the future of the cross-strait relations be as fine as the seemly peace?

A group of guerrillas retreated from Burma to Taiwan during the Chinese Civil War in 1961. They settled down and lived in virtual seclusion in four villages in the south of Taiwan. Now, fifty years later, excavators are digging uncanny holes on their land for the sake of economic development. To them, the days of forest battles have long gone, but another silent inner war has just begun.

It is difficult to be accustomed to isolation. Yet sometimes people are unwilling to leave where they are, even if they are alone and others are just somewhere close. The fear of facing the new and hesitation stop them leaving their comfort zones. They are waiting for someone else to walk to their front actively and the situation might change.

A short animated silent film where about a girl who had a kite.

A music piece called "finger" is played by anxious people.

When a reporter visits a temple to interview a folklorist about a local legend, strange events begin to occur.

Journalist Shu Meng-Lan takes her award-winning documentary series to the big screen. Filmed across 115 locations around the world over 15 years, Shu and her team have captured amazing footage of melting glaciers at the poles as well as the plight of helpless creatures living in those regions. Aiming to advocate for greater ecological awareness from a Taiwan perspective, the film is an important cautionary tale, reminding us that the fate of the polar regions is closely linked to our own.

An overview of Chiu Fu-sheng, a fundamental producer and promoter for Chinese cinema. He worked between China, Taiwan and Hong Kong producing the best films by authors of the caliber of Hou Hsiao-hsien and went through eras that are reflected in his work: the war in Vietnam, the Chiang Ching-kuo era of Taiwan, the reform and the opening up of mainland China, the dissolution of the Soviet Union, the handover of Hong Kong.

a film by Tzuan Wu

Four men are obliged to take a short-term counseling class about domestic violence. Each of them has problems like unbalanced communication, custody, marital conflicts and tension between the wife and the mother. The director documents the perpetrators with an in-depth perspective of how they've faced their family and conflicts and digs into the truth of love in the name of violence.

Having lived an entire life in an exitless building of unknown height, a girl undergoes a ritualistic ascension by a religious sect allowing for her escape.

My father's attempt to reminisce by his childhood seaside became one of the most inexplicable experiences of his life. The film strips were buried for 28 days in vinegar, mud, cheese, nato beans, beer, and kimchi. The disintegrated imagery produced by the decomposition is reminiscent of the fragmentation of memory.

Jointly directed by filmmakers from both sides of the Taiwan Strait, The Forgotten City tells the story of how Taiwan and China each built special housings to meet the need of an era, and how, as time went past, these housings became ruins. The residents in Taiwan's 'dependents villages' and China's 'third-front factories' now face the fate of their homeland being abandoned or demolished...

These lawyers battle for the vulnerable and feel a responsibility to give it their all. Just as the guardian who looks out for the children playing in the wheat fields in the novel 'The Catcher in the Rye,'... they act out of good conscience and continuously press forward for justice and the rights of the people with no thought for themselves. In times like these, this film depicts modern-day warriors writing a new chapter in history.

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.