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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.
Gambling in the night, four men throw the dice of fortune. Suddenly, all sounds are gone from their lives. The adults are muted. Even the babies cry silently. The only sounds left are the pressing knocking from the outside and the tense nerves inside. Who is at the door?
Creatively inspired, but the puppet can’t seem to execute his ideas. After repeatedly revising, he finds himself dominated by his creation instead. A creative beginning results in an unexpected ending. The subjective “human” becomes the object.
After surviving a Ponzi scheme resulted from an information gap in Myanmar, a Taiwanese shrimp farmer, Du, collaborates with a local Chinese-Burmese, Su, to keep his shrimp business going. It is a story about how they work from the beginning to the end.
“Have we ever been to Matsu?” Does this question trigger some mental images, such as flashing postcards inside our mind, or memories of shared photographs through social media? How do we build a landscape of an island? By modifying the geography or by spreading its visual representations? Let’s replace the first inquiry with another one: “Have we ever listened to Matsu?”What would we listen to first? Who would we listen to? What do people in Matsu listen to? As islanders, do they listen to the sounds of the sea or to the sounds of the neighboring country? Is there any document we can listen to about Matsu? Just like images and the internet conspired to transform our vision and memory, may recorded sounds could alter our listening, and therefore our perception of these islands?
Brother Wang and Brother Liu Walk Hades
A female director from Japan is in Saigon, preparing to shoot a film when her male lead suddenly leaves. She begins to rethink the meaning of the resonances and exchanges she has experienced in the city, leading her to perceive the images in front of her more clearly. Unexpected encounters and planned arrivals — these two almost contradictory concepts oscillate in her mind interchangeably. What she feels is not a remembrance of the past, but the future. The traces Saigon has left on her body form a sculpture without dimensions.
Care home resident, the blunt Mr. Tao secretly admires fellow resident, the elegant Ms. Pai. He finally plucks up the courage to write her a love letter, but it gets mischievously posted on the home’s bulletin board. Two other residents: Mr. Peng and Mr. Wang call each other “son” as a pet name. Mr. Peng misses his grandson whom he dares not see, while Mr. Wang frets over his terminal illness.
This documentary tells the sorrow and helplessness faced by villagers in Nansalu Village (Ming Tribe) of Namaxia Township at southern Taiwan, a hard-hit area by typhoon Morakot. The twelve short stories about homes depict the kind of emotional entanglement experienced by the tribal people after going through a drastic disaster. These stories portray the cruelty of reality and allow the audience to see how it forges endurance of life.
On January 23, 2001, in Tiananmen Square in Beijing, the Chinese Communist Party (CCP) staged and directed a self-immolation of Falun Gong practitioners to seek success. Through logical reasoning and analysis, the film shows clearly that a government-directed "drama" and self-immolation occurred to resolve a situation in which Jiang Zemin, then leader of the Chinese Communist Party, was "in a difficult position" to suppress Falun Gong. In addition, the film tells the story of how Falun Gong practitioners came out one by one to tell the truth, but were brutally persecuted by the Chinese Communist Party and tortured to death, but they did not give in and insisted on telling people the truth in a peaceful and rational manner. This spirit of perseverance and resilience in spite of life and death shook the audience to their core.
Wen Jin-sheng loved being active from a young age. A motorbike accident during his junior year of high school left him with a comminuted fracture to the cervical spine, paralysis of four limbs, and only his head left to communicate with others. Jin-sheng has since spent 25 years lying in bed. Not only has his family suffered under the financial burden of his condition, but his life has also lost all direction and he has begun to contemplate euthanasia.
A wife accidentally gives Grandpa's broken clock to a scavenger, unaware that it contains her husband's hidden secret money. Upon searching the scavenger's surprisingly neat and wellkept abandoned house, they are amazed to find the antique clock fixed. The traveling antique clock explores different attitudes toward life, as well as the different values placed on the old and the new.
Illusion, Karma, Apocalypse, Autism. A passenger finds himself being trapped inside a game of gods.
The Weight of Things explores this world of layers, these liminal spaces between heaven and hell, life and death, hope and despair. It is a visual testament of these pandemic times, of the invisible weights we bear. These weights of words and actions, unpursued dreams, the loss of loved ones—these burdens that bind us and hold us down, making it all too easy to forget the lightness of possibility. To not only be weighed down but to also become the weight…
An unfinished housing complex has been abandoned. The imagined future from the past is taken over by foliage and wildlife.
In a locked room, three men are held captive. To survive, they must piece together the mystery that brought them there—and find a way out.
In 2004, the Taiwan International Workers Association (TIWA) came to support the protest of hundreds of Pilipino migrant laborers in their strike against their employer, Fametech Electronics. During this process they discovered that many of the workers were homosexual partners (who were featured in the documentary Lesbian Factory). 6-7 years have passed since then, what happened to those star crossed lovers in their pursuit for a way of life, have they found what they were looking for? The TIWA film crew set out to continue following their footsteps across the world. Documenting their love stories, battling gender identity and crossing social boundaries with their changing lives. As lesbian migrant workers, circumstances in their social environments are constantly shifting.
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.
Twenty years ago, LIN Sheng-hsiang was a successful athlete who enjoyed glamor and glory. Once a child abandoned by the education system due to his unimpressive academic performance, LIN has redeemed himself in the modern pentathlon, an obscure sport in Taiwan. Now a coach, LIN tries his best to serve disadvantaged children who have a similar background to his own. This year, he meets CHEN You-hsuan, a talented young girl from a remote village in eastern Taiwan. LIN devotes himself and all the resources he can find to train You-hsuan. If he manages to help You-hsuan qualify for the Olympic Games, he will have realized his dream of bringing Taiwan’s modern pentathlon team onto the international stage. But everything, including time, funding, the system, and the wayward adolescent, all seems to be going against his wishes. But LIN never expected that this would be just the beginning of the cruelest and toughest challenge he has ever faced.
Taking care of the children on their own, a group of women just realise how ignorant the whole society is, regarding the daily needs of mothers and children. In this film, the filmmaker shares her own experiences with two other women caught in the same dilemma.
A documentary of an indigenous artist Pavavalung Sakuliu, who devotes himself to the cultural renaissance of the Paiwan culture, which is endangered throughout the past century when modern economy was introduced to Taiwan by the Japanese colonial government in 1895 and by the Nationalist government which took over Taiwan in 1945.
This film mainly features two friends of the artist. One works in an empty 85-story skyscraper. The other is a student who has participated in left-wing movements and anti-globalization activities for many years. Through these two friends’ situations in life, the work reflects the dreams and illusions of Taiwan during its process of ‘modernization’, and the irresolvable struggle between different national ideologies in local Taiwanese politics.
The once closely bounded two, Rochee and Wildee, begin their long distant relationship as Rochee got dispatched abroad and left their intimate cohabitation life behind. The sudden lose of focus of life left Wildee’s life a mess and she even find herself weightlessness, floats off the ground physically! Wildee struggles to lead normal life by finding ways to bring herself back to the ground, however, only realizing her relationship with Rochee gradually grows into a tangle of fraying one…
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.
The Lighting aims to revisit issues of discrimination rooted in technological development and image production. Three professional Togolese photographers explore how to use instruments to compensate for insufficient exposure while shooting dark skin tones. A leading software engineer, developing facial recognition algorithms at Taiwan's MediaTek, talks about how a newly-created camera algorithm is very popular on the African continent.
Since comic artist Yeh Hung-chia started publishing the comic series, Jhuge Shiro in 1958, this production was the first live-action movie made based on the story and the only Taiwanese-language Jhuge Shiro movies that has survived. King Gui’s two daughters become the victims of the Demon Society as the villains try to seize King Gui’s treasured Dragon and Phoenix Swords. When King Gui is at his wit’s end, Jhuge Shiro and Zheng Ping, two young swordsmen, turn up and solve the crisis. Made in the era of Taiwanese-language cinema, the traditional music and dance are incorporated in the film; moreover, the masks the gangsters wear have become a unique trademark.
This 80-year-old mansion is packed with historical memories and traces, yet it gave me a strong sense of disappearance when I was in there. The old lady, who lives alone in the mansion, begins to lose the ability to recognize herself in her wedding photos. As the memory fades away, it seems to make the objects in the house gradually lose their meanings. Facing those objects that have been lost in history, I try to add my own memories as if to give them new souls, and the video itself is the container that contains everything and becomes their new body.
A woman’s boyfriend is missing but he returns as a vampire and then things get weird.
An author helps her boyfriend commit his memories of a childhood sexual assault to paper. When he refuses to publish the book shortly before the editorial deadline, she must find a balance between her love for him and her own job as an author.
Mankind is longing for freedom, even Cyborgs. In a closed mechanical underworld, E-28, the protagonist, is a cyborg imprisoned by the underground governor, the General. After a reunion with the mechanical dog, his partner in the old days, E-28 is brought back to its hidden mind. In facing the challenge, E-28, embarrassing the humanity, gradually begins a story of pursuing freedom.
On the Matsu Islands, young wrestlers enjoy the moment of victory or defeat and use wrestling to fight against their boring life. But "finding a way out" is always the most difficult issue just like Matsu in the middle of the troubled strait.
Camera, Rolling, action! Than they act, sing and cry.However, how many people realize that the earlier film base was actually made of Taiwan's camphor tree and the story behind it?
He has tattoos. He writes poems. He paints. He has done a few dirty jobs. When he was in prison for the second time, he received a literary award. He always looks for work, friends, love, but gets lost again and again... He is Weiming, a pen name he adopted when he was in junior high school.
If the fire nearby is already hard to rescue; how can you extinguish the flames that last forever? What you can do is let them be, and try to find things left in the ashes.
If I lose you now. How to live my life? You just come to me. Let us start a brand new life.
An indigenous couple married young with a child when they were only 16 and 19 years old. The financial burden and challenges in life were so heavy for them that quarrels were unavoidable. As their former elementary school teacher, the filmmaker recorded the young couple’s daily life, while trying to give them a hand in their time of need.
My sister Pei-ling went through with an unexpected pregnancy. The child was nicknamed Angoo. In three years, Pei-ling broke up with the child's father, met a new boyfriend, left Angoo in my parents’ care to move in with her boyfriend, until she finally moved back in with our family due to the disapproval of her boyfriend's brother. The parent-daughter relationship was strained at first, but gradually things changed; understanding and love returned between them.
In 1999, the Indigenous Culture Club at the National Taiwan University held a series of annual ceremony activities as a tribute to traditional indigenous rituals. Unfamiliar with their native languages and cultures, however, the student organizers found themselves in an awkward position that brought them into conflict with the school administration. Where would they find the “salt”, an in-depth understanding of their cultural identities and backgrounds?
"Politics and religion are not allowed here. We only talk about women." But after a few glasses of Kaoliang liquor, CAO's rules are naturally forgotten. Every night for 30 years, CAO would sit in front of his house and have a few drinks, and it has become a place for older men to gather. After retirement, their conversations are full of conflicts between old and new values and "masculine" topics. CAO and his buddy LAI chit chat about their inner feelings that have to be spilled out.
In 2020, the LGBTQ+ community in Taipei decided to host a pride parade during the COVID-19 pandemic, celebrating and marching for those who could not do it in their own countries.
[Installation Art Decade Series-Crossing Huashan Wall (History, Ready-made Objects 1998) The Huashan Winery in Taipei City was designated as the first installation art exhibition of the Art and Cultural Special Zone. The background of abandoned factories and warehouses brings a special atmosphere to the film and is also fully utilized by artists.]
Mabanan is an Atayal settlement in Miaoli County, where the filmmaker was born. During the Japanese colonial rule, most of the indigenous community's land was expropriated and registered as state-owned forest. The Kuomintang (KMT) government later imposed even more restrictions on the use of the land. How would the Mabanan community reclaim their homeland when the government still refused to recognise proofs of residence of their ancestors?
A Taiwanese woman's journey to America reveals her fantasy of love and an identity entangled with beauty, sexuality, nationality and two languages. Through the protagonist confronting her own image and her failure at communicating, Wild Grass tells an unusual love story that is deceptive yet revealing.
Throughout his life, he has been active on four continents, fighting against three regimes. Some say he was ""Don Quixote, who dreams the impossible dreams;"" others say he was ""Che GUEVARA, the only remaining active revolutionary in East Asia."" However, the leader he privately admires is Arafat. His whole life was on the run. Now 97 years old, blind in one eye, figure stooped, he is still combating vigorously, his legend continues...
This is a story of seeking each other, between flesh and soul. As the flesh and soul merge together, does that really form a complete individual?
Lying quietly in a cine-camera, a film awaits to fulfill its responsibility of projecting 24 frames of images per second after exposure. Nonetheless, I prefer rolling out films outright and fiddling with them by pigments application, collage, scratch, cut-and-mix, etc. Since these are camera-less measures, the projection is unpredictable, surprising, and often so astonishing that I would be mesmerized.
When he was a child, Junya promised his maternal grandfather that as the eldest grandson, he would take over the family Shinto shrine. However, this did not come to pass as Junya did not share the same family name and he grew estranged from his family over time. To escape this tension, Junya ventured overseas to pursue other dreams and distanced himself from the hometown where he grew up. One day, while working in an izakaya, he meets a foreigner with the same birthday researching a new dance piece for a film. His fateful encounter leads him to confront a family history that he has left behind and gives the dancer inspiration for her work. Together in the midst of winter, they revisit Junya's hometown to reconnect with his childhood and let go of a promise he cannot fulfil.
Though same-sex marriage is now legal in her hometown, Xin, resolves to give up her successful career in the U.S. and return home. Xin's parents eagerly await their daughter's return. However, little do they know about Xin's intentions to take advantage of Taiwan's new same-sex marriage laws. Caught between love and family, Xin risks both her family and lover and is forced to own up to her true feelings.
Focusing on a middle class family in present day Taipei, each of the family members experiences struggles and sparks of change happening their own daily lives. While unable to share their inner emotions, they could still read between the lines, and sense that there are something yet to be said. In the family, Jia-Shiang, Jia-Chi, the Father, and the Mother, all have their individual ‘homework’ to be solved.
"An Introduction to the Actual Condition of Taiwan" is the first film ever made in Taiwan. It was commissioned by the Japanese authorities to director Toyojirō Takamatsu (1872–1952) in 1907, twelve years after Japan occupied Taiwan, as a propaganda movie showing the progress of Taiwan under Japanese rule. The film is lost, but it is known from reviews in local newspapers that it featured a long staged scene of Japanese military repressing a revolt by Taiwanese indigenous people. The aboriginal theme reportedly occupied the longer part of the film. Others were devoted to depicting scenic locations, and the production of "exotic" goods such as bananas and coconuts. The film was criticized for presenting a romantic, exotic, and colonial view of Taiwan, ignoring its more modern industrial products and social problems.