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The children are having a frolic with the insects on the lawn. Inspired from the director’s memories of chasing locusts in her childhood.

This is a story about the descendants of Takasago Giyutai (Taiwan Indigenous volunteer units during the Pacific War) went back to the battle field of the Pacific War in Papua New Guinea following the footsteps of their grandfathers, and made a monument based on a legend of ‘Amis people who believe the soul would return home by taking the wings of a certain kind of bird. The monument was build up at the Mission Hill in Wewak, where was a Japanese naval base during the War, there are two monuments, one of them was set up by the Japanese in 1969 and the other one was build up by the Australians afterwards. A monument is not only a way to memory the history, but also a cultural representation on the spiritual world, questioning that “do you believe the soul really have returned home by taking the wings?”

An outlander tries to find the amulet that his mom gave him. During the searching, he steps on the journey that he has to face the mistakes he made from the past.

The "Wannsee Conference" recalls the Nazi meeting at Lake Wannsee deciding the Jews' fate. This work takes its title from that event to allude to powerful figures across eras who, though expressing different ideas, ultimately echo "Eve Clone," revealing shared ambitions. These figures are depicted as "Eve Clone," a Babylonian idol, revered yet marked by 666, combining evil and seduction, boasting before God while plotting ultimate schemes for humanity.

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.

Jumping Jet Flash tells the story of a man who looks back on the last week of his life awaiting the results of an HIV test.

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?

Graduating in Taipei, Zhang Xiao is soon returning to Shanghai. She and her boyfriend have parted ways, but keep their silence—a long night of hotpot, ice cream, and wandering with friends; a long farewell sealed softly into memory.

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_.

“Natalia” is a film I made in Poland from the perspective of an Asian student. I went abroad for a year, in order to escape from the monotonous life back home in Taipei—only to realize, that I had merely created a new kind of repetitive daily routine in a foreign land. The film presents the absurdity of everyday repetition with abstract imagery. Through the bilingual internal dialogue of the protagonist, Natalia, who becomes aware of this looping pattern, the film questions whether travel is an escape from the cycle or simply the beginning of a new one.

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.

A team of workers is sent to planet Gliese 12b to build a gravitational portal. To conserve energy for survival on the frozen planet, each worker is allowed to speak only 113 words per day.

In the Amis language, a moment signifies peace and a sense of ‘home’ when the ocean calms. This metaphorically relates to the journey of a group of Amis people who left their coastal homes in the 1970s for city work. In Taipei, they established the “Xizhou Tribe” near a riverbank, contributing to urban development but ultimately facing displacement. This dichotomy highlights the choices they made: some stayed in cities, while others returned to ancestral lands. Decades later, as they completed new houses, their story reflects a deeper narrative of indigenous urbanization—a crossroads of starting anew or enduring broken connections with their past and identity.

My brother passed away in 2013 and my parents hold opposing beliefs about where he went after death. In search of answers, I turn to spiritual professionals, hoping they might offer real clues to the question: Where'd My Brother Go?

Can a feeling be explained? Two embark on a motorcycle journey in pursuit of an elusive feeling. On a dark night of hunger and winding roads, the convenience store becomes an illuminated oasis.

During Taiwan’s long colonization history, the difficult-to-survey mountainous areas, which were not described until late in the history of cartography, have been feared by some regimes as they hid rebels. Folded and wrinkled, they are the common “homeland” of people who have encountered diaspora due to the arrangements of regimes. After withdrawing from the tasks of extraction of resources and expansion of governance. It is a Zone that used to be inhabited by wild animals, Negrito people, the Truku tribe in search of hunting grounds, Japanese military explorers, soldiers evacuated from Myanmar who settled their colonies in the high mountains to reclaim and escaped migrant workers who had been displaced at current moment roaming here. Their ghost-like nomadism and migration have led to the drawing of a map of wandering within an area of Blank Zone.

The protagonists of the film are are siblings whose mother, Euis, gave up her dreams as a young girl due to financial difficulties and came to Taiwan to work as a migrant laborer before eventually marrying and settling down. Now, as the siblings’ dreams begin to take root, they navigate the cultures of Indonesia and Taiwan, transitioning from childhood to adolescence—a journey from which there is no turning back, marked by a unique cross-cultural experience of growing up.

A meditative animated short film set in a reimagined Japan during the Warring States period. Combining myth and history, it depicts an intense yet introspective duel between two legendary warriors, not as a celebration of combat, but as a serene reflection on honor, conviction, and the search for inner peace.

The Accidental Politician is a ten-year documentary journey following three young Taiwanese activists who emerged from the 2014 “Sunflower Movement” and stepped into the complex world of local politics. Fueled by ideals but confronted with entrenched power, political deals, and disillusionment, their stories unfold like real-life quests through Taiwan’s democratic landscape. As they struggle between hope and burnout, the film reveals not only the cost of participation, but the unfinished nature of democracy itself. With the 2024 “Bluebird Movement” weaving the past into the present, this is not just a portrait of three individuals—it’s a timely reflection on the fragile, ongoing experiment of democracy in Asia.

Chia-Wei Hsu's video engages with the history of a tiny island off the coast of Matsu, which is situated in the Taiwan Strait. The island is under the commandment of a local god called the " Marshal Tie Jia," a frog deity. This deity originated from a temple on Wu-Yi Mountain in China, which was destroyed during the Cultural Revolution when the deity migrated to Matsu. In Hsu's work, the island is used as a stage. Employing the cinematographic device of the "green screen" - a generic background replaced in the post-production process with any other background image - Hsu places a fictional version of the original tiny temple on the island, which has long since been replaced by a dilapidated bunker.

A film by Lu Xiao Wei for Boiler Room—a documentary that delves into the story of FINAL, a groundbreaking club in Taipei that has redefined the city’s underground music scene. From dimly lit staircases to the dreamlike glow of neon, FINAL is more than just a venue—it’s a cultural movement. This is where boundaries are pushed, genres are reimagined, and self-expression takes center stage. Through the voices of its founders, DJs, and the wider creative community, the film explores how FINAL became a sanctuary for experimentation, a home for those seeking freedom beyond the mainstream. Shot entirely in Taipei, the film captures the raw energy of the city: its chaotic streets, intimate club spaces, and the relentless spirit of a scene that thrives against the odds. It’s a story of resilience, identity, and the power of music to bring people together, even in the face of challenges like the pandemic.

A melodrama story co-directed by Bai Ke and Lin Tuan-chiu in Taiyu (Taiwanese language)

The soldier's written words breathe life into the desolate and shell-covered Tong-Sha Island, transforming it into a vivid landscape. It's a place where many men seem symbolically bound, unvisited yet too precious to forsake.

Zhen Zhen and her single parent mother struggled with livelihood. They had a wish to own, a modest house that they could call home. In a Chinese calligraphy practice occasion, Zhen Zhen met Grandpa Liu, a lonely old man who then became her landlord-to-be by chance. Zhen Zhen started to reside at Grandpa Liu's house and became his finial protégée in Chinese calligraphy. Facilitated by internet communication, Zhen Zhen's help Grandpa Liu's homosexual son to return home and made reconciliation with Grandpa Liu to accept his alternative life. Zhen Zhen and her mother's wish of owning a house still floats in the air for the time being, but they persist to realize it with every little step they strive. The film talks about the true value of the family and the hope in which communication barriers amongst adults were bridged by a youngster's perspective. It is a heart smoothing story entailing how a child's innocence angle the web of complexity within a family.

Taiwan action 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?

Veterinarian Yu-Husan Lin originally majored in forestry in college. After graduation, she decided to retake the college entrance exam to pursue her dream of becoming an veterinarian. She successfully got into the Department of Veterinary Medicine at National Pingtung University of Science and Technology, realizing her aspiration to care for animals, especially wildlife.

The documentary "Wounds – Veterans' Stories" primarily focuses on the veterans who came to Taiwan in 1949 with the memories and traumas of the civil war. The film is conducted along with two story lines: One is conveyed through the personal accounts of the veterans in Taiwan telling their memorable stories of migrating to Taiwan, while the other one follows the story of the Borough Chief of Xianghe Lane in Kaohsiung who escorts the ashes of deceased veterans back home. Through the record of the veterans' stories, the impacts of war on individuals and society as a whole is revealed.

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.

The Glory of Taiwan is a term whose emergence reveals an apparently paradoxical phenomenon. It insinuates that Taiwan had long been in a dark cave, undiscovered by any civilization in the world. It was not until the Portuguese exclamation “Ilha Formosa” that this island broke through the dense mist named this world and basked in the earliest glory of Taiwan. As the theme of Battle City 1 – The Glory of Taiwan elaborates the inferiority com- plex about Taiwan’s impotence. The society’s collective pursuit of success and superiority ultimately nullified its own existence, and a catastrophe known as The Glory of Taiwan ensues.

1964 Taiwanese drama. Winner of the Golden Horse Grant and Best Child Actor at the 3rd Golden Horse Awards.

In the second year of high school, Pei and her neighboring classmate Wen were inseparable, their bond deepening with each passing day, as if transcending the bounds of mere friendship. In the tender bloom of youth, Pei embarked on a heartfelt journey of self-discovery and quest for belonging, seeking the answers her heart yearned for.

Her father died in a secret military creature experiment 2 years ago. 2 years later, she stole that creature from the laboratory, to induce the murder of his father to come out. But then her action causes a chaos after the new year eve.

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...

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.

Jun. 2nd, 2013, Nalam, an Indonesian undocumented foreign worker misheard the police from “donʼt run” to “take a photo”. And later arrested after taking photo with the undercover officers. It was shortly reported as a hilarious news. What if we invited three Vietnamese martial art masters as Nalam, and if he escaped from assaulting the police?

When fishing at sea, he always glimpses Guishan Island. Childhood memories and the villagers' distinct qualities were buried there during the village’s relocation. 'Now, we hide our homesickness in dreams'. Witnessing the island's tourism deeply affects displaced islanders.

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