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Intimate recordings in the personal surroundings of the maker. By re-ordering individual shots, hidden meanings emerge.

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.

The story of ants embarking on a musical journey

A self-destructive and anxious 30-year-old man and his 26-year-old friend with a camera. It's a personal film about their relationship in the last years of a life - battling the HIV virus. The flamboyant man flirts with the camera while the filmmaker is tormented, forcing himself to go on filming. Their sincerity when facing the undefeatable facts is moving.

The film opens with "Eve Clone" in Da Vinci's Vitruvian Man pose atop a tower, with the "Tower of Babel" behind. She transforms into a blue wireframe and begins moving her limbs to display her allure, traversing history into the digital era. Below, a blue wireframe city shifts, flips, and rotates in response to "Eve Clone's" movements and control. Eventually, "Eve Clone" leaps downward into the city streets, wandering like a ghost, searching and drifting, before finally returning to her original position atop the tower.

This documentary examines Taiwan's role within the war machinery of East Asia, and how air-raid shelters have transformed from military defense structures into part of the everyday landscape. By guiding audiences through the often-overlooked landscapes of Chiayi, the film calls for renewed attention to historical sites and explores how war has shaped urban structures and collective memory. It also invites reflection on the lasting impact of war, reminding us that war is never as distant as it seems.

A young, indefatigable office worker deals with an overwhelming workload. After all, he faints and falls beside a pile of trash on the street and accidentally meets a lazy, alcoholic street child who is living in the pile of trash. They stare at each other. The film raises a question: which one exactly do we drink? Coffee or caffeine, whisky or alcohol?

Taking place on Victory Lane in Keelung, this film delves into the lives of three Korean women in their 70s, shaped by war and identity struggles. Unable to return home after migrating during the 20th-century Japanese colonisation of Taiwan, they endure the physical and emotional toll of living between Korea and Taiwan, forgotten in the divide between the two countries.

Abishag is an Indonesian Muslim who tries to make a living in Taiwan. Her job is to look after an old man aboned by his own family. The old man locks himself, Abishag, in his own confined space, watches porn films all day long, trying to feel alive again. Abishag is not used to her work; it requires intimate contacts when doing diaper changing jobs, which makes her very uncomfortable, let alone her religious belief rules the opposite. No one can escape from death; the old man knows it. He tries to feel the energy of life from Abishag but fails in attempt. Day after day, these two reluctant persons manage to constrain their sadness, but the pressure is about to explode. Love may be the best present for the old man, but who is willing to offer that to him? Is Abishag able, willing to give?

Two soldiers escape from a thunderous battlefield, drifting to a deserted island where they are rescued by a woman. Upon the island, the trio reveal primal desires and savage humanity. The uncivilised setting served as one method of justifying nudity in films of the era, while the castaway trope represented a localised adaptation of prevailing international cinematic trends. The extant version of this film bears the title _Woman Fights to the Death for Love_.

A brief cinematographic exploration on Super8 that examines Taiwan's complex national identity through the prism of political utopia. Shot in emblematic locations such as the Legislative Yuan, Liberty Square, the National Human Rights Museum, 228 Memorial Park, and TSMC headquarters, the film juxtaposes these symbols of democracy and autonomy with monuments from the authoritarian past like the Chiang Kai-shek Memorial Hall and Cih-hu Memorial Statue Park. Through these evocative images, the film reflects on the historical, diplomatic, and geopolitical tensions that have defined Taiwan for many centuries and specially since 1949, when the Kuomintang established its government on the island following the Japanese surrender in 1945. This work explores the Taiwanese paradox: a nation functioning as a sovereign democracy while navigating a diplomatic limbo, pursuing a political utopia where its self-determination might be fully recognized.

The director holds the membership of the current Taiwan Film Institute, the former Chinese Taipei Film Archive and Film Library, for more than 30 years. He interviewed the former and current staffs of this institution hoping to find the meaning of his experience by talking to these old friends. But all the interviewees switched position and become the interviewers after 10 minutes. They could ask any questions to the director. By crosscutting various questions and his wondering around in his motorbike, the director went through a self-reflexive process.

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.

According to Yomota Inuhiko's What is Japanese Cinema?, this is the first film produced by a Taiwanese person in Taiwan (circa 1925).

Sosowon: The Season of the Flying Fish is a VR tale set on Lanyu, an island in southeastern Taiwan, featuring a boy, Masarey, and his grandfather, Syapen. During the experience, the viewer will join Sosowon, a flying fish who, to escape a fisherman's net, must perform a feat to save his family. Along the way, Sosowon will go through ordeals, will be overcome by remorse, and will retrace his steps to rescue his family. As an intergenerational tale, the experience opens doors to Sosowon's fantastical world, and evokes a universal theme of love and sacrifice for loved ones.

The Land in the Middle of the Pond makes reference to the 1950’s forced displacement of the Atayal Qara community from their ancestral territory for the construction of the Shimen Reservoir – now the main water supply for Northern Taiwan. Throughout the video, we hear the voice of an elder who recalls the events which resulted in the forced displacement of her community and the impact of diaspora. In the video we see Ciwas tracing veins that run along her limbs like rivers. During the performance, later Ciwas and other Atayal women engage in an Atayal name exchange ritual, between person and plant. This customary ritual Ciwas employs like the tracing of her bloodline at the reservoir, as a symbolic act for reconnecting with her ancestral land while affirming her identity past, present and future.

Two athletes from opposite sides of the world rise above discrimination and pressures of race and nation to stage the greatest duel in Olympic history and forge a lifelong friendship.

Joe is a young woman who has left Taipei for Paris to forget her ex-girlfriend, Jenny. Unfortunately, even on the other side of the world, she still thinks about her. One day, Jenny's friend Min arrives in Paris. She brings Joe a present from Jenny. Jenny, who has rebuilt her life and recently got married. Joe and Min spend several days visiting the French capital, Min systematically forgetting to bring Joe the gift. When she finally thinks of him, Joe is left with a locked padlock and a missing Min...

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.

Beautiful Treasure Island

Following the expansion of urban development, land prices in Taipei’s Shilin District soared exponentially. The Shinkong Textile plant in Shilin became the first to close down. Soon, its laid-off workers gathered for a street protest, singing popular songs with altered lyrics. As the battle wore on, they began a long-term protest in front of the Shinkong headquarters lasting for 76 days.

Wandering through and documenting different religious spaces when traveling, then through editing, these half sacred and half site-seeing experiences have been collaged to a passage to another heterogeneous space. Throughout the corridors and doors, The statues of saints and dolls gaze into the after world without the existence of humans, silence in trance. And it is the voice of prayers bringing me back to the mundane world.

Albert Camus pointed out that Sisyphus may be pleased with his punishment as he pushes a giant rock up to a hill repeatedly. Because when he accepts his fate and lives on independent consciousness, the punishment of the gods on him no longer makes sense, and the meaningless punishment is no longer in vain. The film cites the philosophy-mythology, where the three characters played the same role, the crowd. Their unrelated daily lives are like destiny and cycle, without beginning and ending, without joy or sorrow. They share the same memory of counting down numbers repeatedly and begin a karma through the passing of a boulder.

Jay wonders about the nature of the fear that he has towards his father. Where does it come from? Where should it go? To learn about their relationship, Jay uses a camera to observe their daily interactions. He investigates the grandfather he never knew and gradually discovers a strong intergenerational bond among all of them. As he learns, he begins to feel bolder and uses the camera to have a dialogue with his father about what he never dared to ask: about his identity and the politics surrounding gay marriage laws in Taiwan.

Collection of home movies which was shot by Deng Nan-guang, the well-known photographer, during 1930-1940s.

In the universe, there is a kind of aggressive race, human beings know nothing about them, but they know what human beings say and do. That race is cat. They are mysterious, evil and lurking in human society. They find that people increasingly rely on social media on the Internet to receive all the messages in their lives. As a result, they launch a series of brainwashing human actions around the world by Internet invasion...

After more than a decade in the financial industry, Jeff HUANG decided to leave his comfort zone at the age of 33 and changed his job from an analyst to a mixed martial artist without a regular income. Jeff walked away from it all, moved to Brazil to train. Upon his return to Taiwan, Jeff entered the professional world of MMA and became known as "The Machine". But In the face of his family's doubts and marriage crisis, will he be able to continue to follow the path he has chosen?

After restoring their Ceremony of Ancestral Spirits, the Atayal people of the Raisinay Village, Miaoli County, were distressed by the absence of their traditional garments. Yuma Taru, a researcher of Atayal folk costume, decided to trace back their history by conducting interviews with the elders, learning weaving techniques from them. This documentary captures the passing down of the weaving art, and the younger generation’s yearnings for revival of their traditional clothes.

In an ancient Eastern Kingdom, an emperor was controlled by the ministers. The emperor could not stand it and escaped from the palace

A mad intense dream about driving an uncontrollable vehicle for three and a half years.

A series of moving images taken from observing dreams, subconsciousness, thoughts, emotions and personal memories.

It's Station Master Chen’s last day at work. The last train is sent off. Tomorrow on, he will be a mere Mr. Chen. He looks around the station where he’s worked his whole life, thinking of the people he’s sent off. Some come back, and some don’t. Finally, Chen realized the reason he stayed at the station. He’s been waiting for himself, who missed that train decades ago.

His mom promised she would watch and cheer for him at his table tennis match if he made it to the school competition. However, he’s not a good player and his old table tennis paddle broke during training. Most importantly, his father disapproves of him playing table tennis…

It is a visual record of long-lasting open wounds, Chinese medical progress, and the disappearance of memory. This documentary examines the current plight of a small group of elderly Chinese peasants who have been suffering from open wounds for over 70 years. The director visits some elderly surviving soldiers of Unit 731 – a WWII Japanese secret unit devoted to biological warfare.

On a calm summer day, children want to have a different end of the vacation......

In 1949, the Kuomintang retreated to Taiwan. But some went into hiding, waiting in the jungles of northern Burma and Thailand for orders from Taiwan. President Chiang Kai-Shek told them to keep hiding out in the jungle and to wait until the time was ripe to “retake mainland China” from the communists. They ended up waiting for fifty years and became a lost army.

Different moments disappear and reappear, different moments come together to form a new moment. It is a decomposing and recomposing landscape inspired by the cycle of construction and deconstruction in nature.

In 2009, a DNA test report that "does not rule out the possibility" turned Chen Longqi from a witness to a defendant. After he was found guilty, he began to flee, fearing that he would not be able to clear his grievances in prison. Fortunately, four years and thirty days later, he met a judge who was willing to investigate again, and finally changed the verdict to not guilty. But from guilty to innocent, what he saw in front of him was the ruin of his career, heavy debts, the mental panic of long-term escape and hiding, and many people who wanted his help and were also suffering from unjust cases...

Free market capitalism has not only effected the flow of capital but also the global migration of labor. Laborers cross national borders to “developed” or “developing” countries and take on low-paying job in the service sector. The growing number of international laborers and new immigrants, usually of various nations and ethnicity, has now begun to have certain impact on the host society. For example, in Taiwan, the lure if high income might subject them to the employer’s exploitations. And policy makers and employers rarely take into account their sense of displacement.

Jiang Jun Zhi and Fang Min En is a married couple, but both are gay, and each has his or her own lover. This morning, the guy received a call from his father informing them that he will be dropping by the new flat soon. Caught completely off guard, Jiang Jun Zhi and Fang Min En panicked, hurriedly sent both their lovers away, and started tidying up the room. They could not find their wedding ring, and got into a heated argument. Unexpectedly, the parents showed up at the door.

This is an unfinished [Shaw Brothers] production entitled THE NOCTURNAL KILLER. It's possibly an aka for the above mentioned THE LITTLE POISONOUS DRAGON. It's just one of many unfinished films that were started at Shaw's and abandoned for whatever reason. With between 40 and 50 movies being scheduled throughout 1971 and 1972, some productions were scrapped, or morphed into an entirely different picture. Curiously, the plot and Shi Szu's attire appears similar to HEROES OF SUNG (1973; it was filmed under different titles as well), a film that did starred the actress and Lo Lieh, but not the Taiwanese actor, An Ping. - coolasscinema.com, Dec 2010

Jack is a merman who longs for a love romance. One day, he is stricken by a sudden whirlpool. He faints away and finds himself on the hilltop after waking up. Can Jack swim back to his sweet ocean? Will the journey be the chance of meeting his Ms. Right?

Structured around a dancer's routine, the film unfolds in four stages: hope, fear, anger, and longing for stability. It interweaves these emotions with those of locals of Matsu, the military, and first-time-visiting photographers from Taiwan island.