05/06

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華山光點一廳

G

There Will Be No More Night

4:20pm - 5:36pm
P

Green Jail

6:20pm - 8:01pm
PG-12

The Bad Man

9:20pm - 10:36pm
永無黑夜

There Will Be No More Night

There Will Be No More Night

G
艾蓮諾.韋伯Éléonore WEBER

The pilots and gunners of attack helicopters use thermal cameras to observe movement on the ground in war zones. Using video recordings of French and American missions in Afghanistan, Iraq, and Syria, the film observes, interprets, and reflects on the modern form of war.

 

Green Jail

Green Jail

P
黃胤毓HUANG Yin-yu

Grandma HASHIMA is the last Taiwanese who knows the secrets of ‘Green Jail’, the notorious coal mine before World War II in Okinawa, Japan. With hardly any visitors, she lives alone in an old and shaggy wooden house by the ‘jail on the sea’ where her family once lived, she recounts her experience of the coal mine days on the island. Through her memories of guilt, pain, anger, and the miseries of the past 80 years, this film portrays the last years of Grandma HASHIMA’s life.

 

The Bad Man

The Bad Man

PG-12
李永超LEE Yong-chao

Myanmar has the world’s longest ongoing civil war that has spanned more than 70 years. The Kachin Independence Army (KIA) is the ethnic rebel group most vehemently opposed to the ruling military junta. The protagonist of this film was conscripted into the KIA as a child, transforming him from an innocent kid into a ruthless man who talks about killing without hesitation. With all the wounds and experiences, he is now considering which path to take for the future.

 
 

華山光點二廳

G

Somewhere Over the Cloud

3:50pm - 5:32pm
G

Eternity / Independencia

6:10pm - 7:52pm
R

No Desire to Hide

8:30pm - 10:01pm
雲的那端

Somewhere Over the Cloud

Somewhere Over the Cloud

G
蕭美玲HSIAO Mei-ling

A series of emails that the filmmaker wrote to her late mentor, the renowned American documentary filmmaker Robert KRAMER, are woven throughout the plot of a story as the boundaries of life, distance, language, identity and nationality are re-examined from the perspective of Elodie, her daughter.

 
永恆解藥

Eternity

Eternity

雷蒙.瑞德Raymond RED

A young man searches for Ang Magpakailanman, a book which has the power to grant immortality. This surreal and at times nightmarish work, which Raymond RED shot, wrote, and directed, was made at only 17 years of age. #Colonial Narratives

 
獨立幻夢

Independencia

Independencia

G
拉亞.馬丁Raya MARTIN

In the early 20th century Philippines, the sounds of war signal the arrival of the Americans. A mother and son flee to the mountains, hoping for a quiet life. One day, the son discovers a wounded woman in the middle of the forest, and decides to bring her home. Years pass. Man, woman and child live in isolation from the growing chaos all over the country. But a coming storm soon threatens their existence, and American troops draw nearer. #Colonial Narratives

 

No Desire to Hide

No Desire to Hide

R
朱日坤ZHU Rikun

WU Haohao, a worshipper of MAO Zedong, describes himself as a video producer. He shoots a lot of videos, mostly with sexual content. He and his girlfriend try to function in an open relationship, which suits only one of the partners, while the other suffers and longs for a family life. The possibility of emigration to America is a hope, but it is gradually receding due to the worsening political situation.

 
 

京站威秀九廳

PG-15

206: Unearthed

5:00pm - 6:33pm
PG-15

Odoriko

8:00pm - 9:54pm

206: Unearthed

206: Unearthed

PG-15
許喆寧HEO Chul-nyung

More than a million South Koreans died during the Korean War and the full extent of the atrocities committed during the war remains unknown to this day. In 2005, the Truth and Reconciliation Commission (TRC) uncovered 168 massacres, but by 2010, the commission was shut down. Haunted by the unsolved murders, these former investigators and the bereaved families restarted a project at various areas to uncover the truth on their own.

 
踊子

Odoriko

Odoriko

PG-15
奥谷洋一郎OKUTANI Yoichiro

Odoriko are dancers of the dying art of Japanese strip theatre. Once a popular form of entertainment, today all but 20 strip clubs have closed nationwide. Like dancers' bodies disappearing into darkness when the stage spotlight dims at a show's end, the future of the strip theatre seems destined to follow. Deliberately filmed on mini-DV tape in an archaic frame ratio, this is a poignant and artful portrait of a vanishing culture behind the curtains.

 
 

京站威秀十廳

P

Brotherhood

6:20pm - 7:57pm
G

The Other One

8:40pm - 9:57pm

Brotherhood

Brotherhood

P
弗朗切斯科.蒙塔耶Francesco MONTAGNER

Three young Bosnian brothers, born into a family of shepherds. They grew up in the shadow of their father, Ibrahim, a strict, radical Islamist preacher. When Ibrahim gets sentenced to two years in prison, for war participation and terrorism, the three brothers are suddenly left on their own. The brothers explore their newly acquired freedom on the difficult journey to becoming men, searching for identity, and finding love.

 

The Other One

The Other One

G
弗朗西斯科.貝爾梅霍Francisco BERMEJO

Somewhere at the end of the world, where the ocean and rocks play their endless games of hide and seek, lives a man. In his mysterious solitude he is not alone. One day the remains of a white whale are washed up on the beach by a storm. In this stranded portrait inspired by H. MELVILLE's masterpiece Moby Dick, the director questions our inner reality and our own gaze on it.

 
 

05/06

華山光點一廳

TimeProgrammeVenue / InfoAdd to My Schedule
16:20There Will Be No More Night購票去
18:20Green Jail映後座談購票去
21:20The Bad Man購票去

華山光點二廳

TimeProgrammeVenue / InfoAdd to My Schedule
15:50Somewhere Over the Cloud購票去
18:10Eternity
Independencia
購票去
20:30No Desire to Hide映後座談購票去

京站威秀九廳

TimeProgrammeVenue / InfoAdd to My Schedule
17:00206: Unearthed映後座談購票去
20:00Odoriko映後座談購票去

京站威秀十廳

TimeProgrammeVenue / InfoAdd to My Schedule
18:20Brotherhood購票去
20:40The Other One映後座談購票去

05/07

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華山光點一廳

G

The Islands

12:30am - 1:52pm
P

Taste of Wild Tomato

3:00pm - 5:03pm
G

K’s Room – The Creation and Destruction of the World / The Making of Crime Scenes / Kaohsiung City, Yancheng District, Fubei Rd., No.31

6:20pm - 7:15pm
G

Remember Me

8:40pm - 10:05pm

The Islands

The Islands

G
江偉華CHIANG Wei-hua

The Islands follows the journey of former student activist CHEN Ting-hao, as he decided to escape the toxic political environment of Taipei City. He ended up landing on Matsu Islands, a political backwater located off the coast of China. Serving as a political staffer managing local affairs, he is forced to ponder on the intricate interplay between political ideals and reality.

 

Taste of Wild Tomato

Taste of Wild Tomato

P
廖克發LAU Kek-huat

Kaohsiung served as an important military base under Japanese colonial rule and had incurred heavy casualties during the 228 Incident. The film subtly tends to the deep scars of the witnesses, survivors and their descendants as an act of resistance to oblivion. Memories survive through different eras of oppression and continue to live in people’s hearts, just like the wild tomatoes grown in this land.

 

K’s Room – The Creation and Destruction of the World

K’s Room – The Creation and Destruction of the World

G
洪瑋伶HUNG Wei-lin

K’s room’ is a mental space that serves as a metaphor for the complex relationship between men, boundaries, and the nation state during Taiwan’s martial law period. All the lines in the film were extracted from New English Grammar, one of Taiwan’s most popular English grammar books published in 1960, as a way of reconstructing the mental state of its author Mr. K who was sent to prison due to political reasons.

 

The Making of Crime Scenes

The Making of Crime Scenes

G
許哲瑜HSU Che-yu

During the martial law period, a Taiwanese American writer Henry LIU was shot dead by assassin WU Dun. This case was later confirmed to be a political murder jointly committed by the Military Intelligence Bureau and United Bamboo Gang in Taiwan. After being released from prison, WU became a film producer and established a film company that produced ‘wuxia films’. In this film, the filmmaker revisited WU’s abandoned studio to restage the events with forensic scanning techniques.

 

Kaohsiung City, Yancheng District, Fubei Rd., No.31

Kaohsiung City, Yancheng District, Fubei Rd., No.31

G
曾威量CHIANG Wei-liang

As a storied apartment complex awaits its eventual demolition, its inhabitants teeter on the edge of poverty, unaware that the deadliest building fire in the city's history will soon arrive.

 

Remember Me

Remember Me

G
洪淳修HUNG Chun-hsiu

HUNG Chun-hsiu spent seven years filming three residents of Kinmen island: an owner of a local photography shop, a retired officer and a Chinese woman from Sichuan province who came to Kinmen with the hope for a better future. Using photographs and archival materials, HUNG explores the personal stories of three residents and how they reflect upon the upheavals between the two sides of the Taiwan Strait.

 
 

華山光點二廳

G

Kano: An American and His Harem

1:40pm - 3:00pm
G

Depart for a New Life: One Promise / My Homework

3:40pm - 4:47pm
G

Silence in the Dust

6:00pm - 7:35pm
G

Tondo, Beloved

9:00pm - 10:16pm
美國佬與他的後宮

Kano: An American and His Harem

Kano: An American and His Harem

G
蒙絲特.希門尼斯Monster JIMENEZ

In 1969, an American Vietnam War hero by the name of Victor PEARSON moved to a poor, remote village in the Philippines and invited hundreds of women to live with him. In 2002, he was charged with over 80 counts of rape. In the Philippines, he is known as Kano, Filipino slang for Amerikano. #Empire and Libidinal Economy

 
國家大事

Depart for a New Life: One Promise

Depart for a New Life: One Promise

G
周旭薇CHOU She-wei

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.

 
我的回家作業

My Homework

My Homework

G
曾文珍TSENG Wen-chen

Director TSENG occasionally began to record the daily life of her mother, out of the need of completing her documentary assignment at school. The films presents a mother's persistence when facing difficulties and her love for her children. In the meantime, interactions and conversations between mother and daughter are revealed spontaneously.

 

Silence in the Dust

Silence in the Dust

G
李維LI Wei

More than twenty years ago, Dazhang along with his three brothers came to Guangdong to work in a local quartz powder factory. However, a few years later, Dazhang was diagnosed with advanced staged pneumoconiosis. Returning to his hometown, the pneumoconiosis was gradually killing him every single day. The entire family was stuck in this seemingly endless suffering, while his children were still confused about what happened to their father.

 
摯愛的湯都

Tondo, Beloved

Tondo, Beloved

G
珠兒.馬拉南Jewel MARANAN

To what is the poor born? The film depicts the underlying hostilities between life and landscape in the expanding international port of Manila. Four lives unfold in micro-narratives of birth, youth, adulthood and death, a chronic struggle in poor communities squeezed within the gaps and seams of the port's industrial spaces. #Difficult Observation

 
 

臺灣當代文化實驗場 102共享吧

G

Oliver

1:30pm - 2:08pm
P

菲律賓短輯#2:羅克斯李早期作品

3:30pm - 4:17pm
奧利佛

Oliver

Oliver

G
尼克.迪奧坎波Nick DEOCAMPO

The first installment in Nick DEOCAMPO's  'Ang Lungsod ng Tao ay Nasa Puso' trilogy, Oliver follows a female impersonator who supports his family by performing in Manila's gay bars. Shot in the final year of Marcos's dictatorship and revolutionary times, it is one of the most compelling illustrations of the fluidity of sexuality, as well as of the power of human agency in times of hardship. #Empire and Libidinal Economy

 
白色王座

Tronong Puti (White Throne)

Tronong Puti (White Throne)

P
泰德.艾拉格、羅克斯李Roxlee

A satire on the beneficial attributes of the chamber pot. #Animation and Action

 
影像亂入

Inserts

Inserts

羅克斯李Roxlee

A clashing collage of archival and found footage, presenting the colonial Philippine society in a sarcastic tone. #Animation and Action

 
好大好大的煙

The Great Smoke

The Great Smoke

G
摩李、羅克斯李Monlee, Roxlee

A biting satire on nuclear destruction, comprising found footage, collage, and animated drawings. #Animation and Action

 
ABCD

ABCD

ABCD

G
羅克斯李Roxlee

A new and personal take on the alphabet reveals multi-layered, comical meanings. #Animation and Action

 
強尼爬行記

Juan Gapang (Johnny Crawl)

Juan Gapang (Johnny Crawl)

P
羅克斯李 , 葉耶.卡德隆, 艾特.馬庫蘭噶Roxlee, Yeye CALDERON, At MACULANGAN

A man performs by crawling into the streets of Metro Manila wearing only a wig, white tights, and white body paints. #Animation and Action

 
無腦人/口水/光學遊戲

SPIT/OPTIK

SPIT/OPTIK

G
羅克斯李 , 葉耶.卡德隆, 艾特.馬庫蘭噶Roxlee, Yeye CALDERON, At MACULANGAN

A three-part experimental film combining animation, illustration, found footage, and liquid mercury. #Animation and Action

 
城鄉混音帶

Mix One and Two

Mix One and Two

P
羅克斯李Roxlee

A serene but critical look at what indiscriminate urbanisation has done to the natural environment. #Animation and Action

 
 

國家影視聽中心大影格

G

Repatriation

1:30pm - 3:58pm
G

威廉.肯特里奇短片集#1:素描投影

4:40pm - 6:02pm
P

威廉.肯特里奇短片集#2

7:00pm - 8:15pm
遣返

Repatriation

Repatriation

G
金東元KIM Dongwon

Repatriation chronicles the lives of ‘unconverted’ North Korean spies who were captured and imprisoned in South Korea for more than 30 years. Director KIM Dongwon developed a close relationship with them after their release from prison and eventually made a documentary that spanned 12 years in the making, providing a penetrating insight into the tragic consequences of the Cold War that still persist in Korea.

 
約翰尼斯堡,僅次於巴黎之最偉大的城市

Johannesburg: 2nd Greatest City after Paris

Johannesburg: 2nd Greatest City after Paris

P
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
紀念碑

Monument

Monument

G
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
礦場

Mine

Mine

P
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
清醒、肥胖與年長

Sobriety, Obesity and Growing Old

Sobriety, Obesity and Growing Old

G
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
放逐的菲利克斯

Felix in Exile

Felix in Exile

P
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
控訴的歷史

History of the Main Complaint

History of the Main Complaint

G
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
重量與慾望

Weighing... and Wanting

Weighing... and Wanting

G
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
立體鏡

Stereoscope

Stereoscope

G
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
潮汐表

Tide Table

Tide Table

G
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
別的臉

Other Faces

Other Faces

G
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
城市之深

City Deep

City Deep

G
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
影子隊列

Shadow Procession

Shadow Procession

G
威廉.肯特里奇William KENTRIDGE

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.   In Shadow Procession, turning all manner of people into moving shadows is seemingly an homage to shadow play, but also showcases his understanding of light and shadow in reality. References to film are more pronounced and profound in Journey to the Moon, which combines animation and live-action, creates the cosmos in a studio, and converses with the magical illusions created by Georges MÉLIÈS. On the other hand, Second-hand Reading, Tango for Page Turning, Sonnets, Soft Dictionary and Sibyl are all part of KENTRIDGE’s iconic Flipbook films. He drew on old books, creating the most primitive of motion pictures through the flipping pages. He has also shown that, compared to philosophers who rely on language systems, artists are more willing to use images in the pauses and blank spaces between the words and lines to directly demonstrate their understanding of the world. As for Carnets d’Egypte, it comes from a project conceived especially for the Louvre. Through this work, his versatility in theatre offers a visual translation of ancient Egyptian culture in contemporary language.

 
十四行詩

Sonnets

Sonnets

G
威廉.肯特里奇William KENTRIDGE

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.   In Shadow Procession, turning all manner of people into moving shadows is seemingly an homage to shadow play, but also showcases his understanding of light and shadow in reality. References to film are more pronounced and profound in Journey to the Moon, which combines animation and live-action, creates the cosmos in a studio, and converses with the magical illusions created by Georges MÉLIÈS. On the other hand, Second-hand Reading, Tango for Page Turning, Sonnets, Soft Dictionary and Sibyl are all part of KENTRIDGE’s iconic Flipbook films. He drew on old books, creating the most primitive of motion pictures through the flipping pages. He has also shown that, compared to philosophers who rely on language systems, artists are more willing to use images in the pauses and blank spaces between the words and lines to directly demonstrate their understanding of the world. As for Carnets d’Egypte, it comes from a project conceived especially for the Louvre. Through this work, his versatility in theatre offers a visual translation of ancient Egyptian culture in contemporary language.

 
翻頁的探戈

Tango for Page Turning

Tango for Page Turning

G
威廉.肯特里奇William KENTRIDGE

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.   In Shadow Procession, turning all manner of people into moving shadows is seemingly an homage to shadow play, but also showcases his understanding of light and shadow in reality. References to film are more pronounced and profound in Journey to the Moon, which combines animation and live-action, creates the cosmos in a studio, and converses with the magical illusions created by Georges MÉLIÈS. On the other hand, Second-hand Reading, Tango for Page Turning, Sonnets, Soft Dictionary and Sibyl are all part of KENTRIDGE’s iconic Flipbook films. He drew on old books, creating the most primitive of motion pictures through the flipping pages. He has also shown that, compared to philosophers who rely on language systems, artists are more willing to use images in the pauses and blank spaces between the words and lines to directly demonstrate their understanding of the world. As for Carnets d’Egypte, it comes from a project conceived especially for the Louvre. Through this work, his versatility in theatre offers a visual translation of ancient Egyptian culture in contemporary language.

 
埃及筆記本

Carnets d'Egypte

Carnets d'Egypte

G
威廉.肯特里奇William KENTRIDGE

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.   In Shadow Procession, turning all manner of people into moving shadows is seemingly an homage to shadow play, but also showcases his understanding of light and shadow in reality. References to film are more pronounced and profound in Journey to the Moon, which combines animation and live-action, creates the cosmos in a studio, and converses with the magical illusions created by Georges MÉLIÈS. On the other hand, Second-hand Reading, Tango for Page Turning, Sonnets, Soft Dictionary and Sibyl are all part of KENTRIDGE’s iconic Flipbook films. He drew on old books, creating the most primitive of motion pictures through the flipping pages. He has also shown that, compared to philosophers who rely on language systems, artists are more willing to use images in the pauses and blank spaces between the words and lines to directly demonstrate their understanding of the world. As for Carnets d’Egypte, it comes from a project conceived especially for the Louvre. Through this work, his versatility in theatre offers a visual translation of ancient Egyptian culture in contemporary language.

 
二手閱讀

Second-hand Reading

Second-hand Reading

G
威廉.肯特里奇William KENTRIDGE

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.   In Shadow Procession, turning all manner of people into moving shadows is seemingly an homage to shadow play, but also showcases his understanding of light and shadow in reality. References to film are more pronounced and profound in Journey to the Moon, which combines animation and live-action, creates the cosmos in a studio, and converses with the magical illusions created by Georges MÉLIÈS. On the other hand, Second-hand Reading, Tango for Page Turning, Sonnets, Soft Dictionary and Sibyl are all part of KENTRIDGE’s iconic Flipbook films. He drew on old books, creating the most primitive of motion pictures through the flipping pages. He has also shown that, compared to philosophers who rely on language systems, artists are more willing to use images in the pauses and blank spaces between the words and lines to directly demonstrate their understanding of the world. As for Carnets d’Egypte, it comes from a project conceived especially for the Louvre. Through this work, his versatility in theatre offers a visual translation of ancient Egyptian culture in contemporary language.

 
軟字典

Soft Dictionary

Soft Dictionary

G
威廉.肯特里奇William KENTRIDGE

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.   In Shadow Procession, turning all manner of people into moving shadows is seemingly an homage to shadow play, but also showcases his understanding of light and shadow in reality. References to film are more pronounced and profound in Journey to the Moon, which combines animation and live-action, creates the cosmos in a studio, and converses with the magical illusions created by Georges MÉLIÈS. On the other hand, Second-hand Reading, Tango for Page Turning, Sonnets, Soft Dictionary and Sibyl are all part of KENTRIDGE’s iconic Flipbook films. He drew on old books, creating the most primitive of motion pictures through the flipping pages. He has also shown that, compared to philosophers who rely on language systems, artists are more willing to use images in the pauses and blank spaces between the words and lines to directly demonstrate their understanding of the world. As for Carnets d’Egypte, it comes from a project conceived especially for the Louvre. Through this work, his versatility in theatre offers a visual translation of ancient Egyptian culture in contemporary language.

 
女先知

Sibyl

Sibyl

G
威廉.肯特里奇William KENTRIDGE

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.   In Shadow Procession, turning all manner of people into moving shadows is seemingly an homage to shadow play, but also showcases his understanding of light and shadow in reality. References to film are more pronounced and profound in Journey to the Moon, which combines animation and live-action, creates the cosmos in a studio, and converses with the magical illusions created by Georges MÉLIÈS. On the other hand, Second-hand Reading, Tango for Page Turning, Sonnets, Soft Dictionary and Sibyl are all part of KENTRIDGE’s iconic Flipbook films. He drew on old books, creating the most primitive of motion pictures through the flipping pages. He has also shown that, compared to philosophers who rely on language systems, artists are more willing to use images in the pauses and blank spaces between the words and lines to directly demonstrate their understanding of the world. As for Carnets d’Egypte, it comes from a project conceived especially for the Louvre. Through this work, his versatility in theatre offers a visual translation of ancient Egyptian culture in contemporary language.

 
月球之旅

Journey to the Moon

Journey to the Moon

P
威廉.肯特里奇William KENTRIDGE

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.   In Shadow Procession, turning all manner of people into moving shadows is seemingly an homage to shadow play, but also showcases his understanding of light and shadow in reality. References to film are more pronounced and profound in Journey to the Moon, which combines animation and live-action, creates the cosmos in a studio, and converses with the magical illusions created by Georges MÉLIÈS. On the other hand, Second-hand Reading, Tango for Page Turning, Sonnets, Soft Dictionary and Sibyl are all part of KENTRIDGE’s iconic Flipbook films. He drew on old books, creating the most primitive of motion pictures through the flipping pages. He has also shown that, compared to philosophers who rely on language systems, artists are more willing to use images in the pauses and blank spaces between the words and lines to directly demonstrate their understanding of the world. As for Carnets d’Egypte, it comes from a project conceived especially for the Louvre. Through this work, his versatility in theatre offers a visual translation of ancient Egyptian culture in contemporary language.

 
 

國家影視聽中心小影格

G

We Are Zama Zama

2:10pm - 3:24pm
G

Basal Banar (Sacred Ritual of Truth)

4:30pm - 6:26pm
G

從汝浮波瀾:台灣女性實驗電影切片

7:30pm - 8:46pm

We Are Zama Zama

We Are Zama Zama

G
羅薩琳德.莫里斯Rosalind MORRIS

Rosalind MORRIS weaves a transfixing narrative about the lives of migrants whose flight from neighbouring Zimbabwe has led them to seek gold in the ruins. In harrowing POV footage shot by the miners, we follow three men into the underground where they spend days, seeking gold and friendship while fearing accident and violence.

 
祈願真理之歌

Basal Banar (Sacred Ritual of Truth)

Basal Banar (Sacred Ritual of Truth)

G
奧拉烏.索里托Auraeus SOLITO (Kanakan-Balintagos)

SOLITO returns to his hometown on Palawan Island and documents the sacred rituals and daily lives of its people, as the intrusion of multinational corporations and other forces constantly threatens the islanders' way of life. The echoes of percussion and rhythm of the images unite harmoniously, unveiling a personal rediscovery of indigenous roots in Southern Palawan. #Unruly Geographies

 
流

Flow

Flow

G
曾莉珺Lichun TSENG

What if everything is in a flow, what is the meaning of life derived from its sense of interconnectedness? The film observes the flow of change and rhythms of breathing through abstract moving images. A poetic state of meditative process slowly comes into being.

 
臨摹(另一種版本)

Transcript (the other version)

Transcript (the other version)

G
徐璐Erica SHEU

Immersing in the tension within the family of origin, one follows the rrumination in the meditation on intimacy.

 
慾見

The Window of Desire

The Window of Desire

G
黃靖閔Kassey C.M. HUANG

A little ballerina begins to explore her body. Two teenage girls have their first intimate experience. Following the flow of thoughts in one’s creative process, a journey into the past reveals the protagonist’s desires experienced at various ages.

 
藥膜連結

Emulsion Connection

Emulsion Connection

G
許岑竹HSU Tsen-chu

Emulsion Connection connects photochemical and digital format, as well as the filmmaker’s carefree student life abroad and her returning to hometown. The time difference between each frame can be 1/18 second, 1/24 second, or 1 week, or even a decade.

 
Sucker’s Love

Sucker’s Love

Sucker’s Love

G
趙中慧Doll CHAO

Through magnifying scanned photos and juxtaposing old photos with the new ones, the film attempts to reexamine family photos as a way of rejecting the harmonic tone rooted in family portraits, while the moving film perforation becomes the train windows in the travel of time.

 
財縫

Transactions

Transactions

G
陳瀅如CHEN Yin-ju

Here a mother works tirelessly for rich clients so she can afford to send her daughter to school in the United States. The making of a piece of clothing is filmed in detail while we listen to a phone conversation that covers the topic of credit card expenses.

 
島嶼舊式

The Islands

The Islands

G
謝宣光HSIEH Hsuan-kuang

An experimental documentary consists of 35mm film photographs of three islands: Inishmore, Staten Island and Tsushima Island. By rearranging and re-filming the photographs and objects, the island is no more a mere geographical expression but a state of mind.

 
入世

How Old Are You? How Old Were You?

How Old Are You? How Old Were You?

G
劉行欣LIU Hsing-hsin

Using camera obscura techniques, the film contemplates the idea of bringing oneself back to the origin, the womb. As the film traverses through a series of psychological events, a dialogue is conducted between two selves – infant and adult.

 
 

京站威秀九廳

G

Tokyo Kurds

11:00am - 12:43am
G

A Silent Gaze

1:40pm - 4:41pm
PG-12

Children of the Mist

6:00pm - 7:32pm
G

In Flow of Words / How to Improve the World

9:00pm - 10:09pm

Tokyo Kurds

Tokyo Kurds

G
日向史有HYUGA Fumiari

In the 1990s, about 2,000 Turkish Kurdish refugees settled in a suburb of Tokyo; however, up until today, most of them are still illegal immigrants. Ozan has been working illegally as a construction worker, and is anxious about his uncertain future. Mehmet spent 520 days in detention for no apparent reason while suffering from a critical health condition without medical aid. Ramazan has been trying various ways to obtain a visa but his illegal immigrant status has kept him from his dream.

 

A Silent Gaze

A Silent Gaze

G
黃信堯HUANG Hsin-yao

Since 2009, the filmmaker has spent 12 years documenting the ever-changing times of three townships along the coast of Tainan County, namely Beimen, Jiangjun and Qigu. Through the lenses, human activities are seen closely connected with the surrounding nature, while maintaining its own charm. The film subtly captures a singular way of life and a sense of time suspended in the past, present and future. As a part of a discussion on memory and detemporality, this work comes in another 3-channel video installation as further dialogue with this single-channel video.

 

Children of the Mist

Children of the Mist

PG-12
何黎艷HÀ LỆ Diễm

Di is a 12-year-old girl living in a village in the mist of Northwest Vietnamese mountains. She belongs to the Hmong ethnic minority where women get married very young, enduring the controversial tradition of 'bride-kidnapping'. When Di enters puberty, the carefree little girl has turned into an impetuous, hypersensitive teenager. On the Lunar New Year's Eve, when Di's parents come back home after celebrating, the house is silent and empty: Di has disappeared.

 

In Flow of Words

In Flow of Words

P
伊莉安.艾斯特.博茨Eliane Esther BOTS

In Flow of Words follows the narratives of three interpreters of the International Criminal Tribunal for the former Yugoslavia. They interpreted shocking testimonies from witnesses, victims and perpetrators, without ever allowing their own emotions, feelings and personal histories to be present. Contrary to their position at the tribunal, this film places their voices and experiences centre stage.

 

How to Improve the World

How to Improve the World

G
阮純詩NGUYỄN Trinh Thi

Resisting the westernised reliance on images for creating narratives and experiencing the world, the film turns to music and sound as a way of perceiving through listening. While observing the loss of land and traditional ways of living, this aurally centred film reflects on the past, present and future of indigenous cultures of the people in Vietnam's Central Highlands.

 
 

京站威秀十廳

PG-12

Soy Libre

10:40am - 11:59am
R

Danse Macabre

12:40am - 2:10pm
PG-12

Rain in 2020

3:30pm - 4:49pm
G

By the Throat

6:10pm - 7:28pm
G

Looking for Horses

8:50pm - 10:18pm

Soy Libre

Soy Libre

PG-12
羅荷.波堤耶Laure PORTIER

Just released from a juvenile detention centre, Arnaud longs for just one thing: unconditional freedom. The energetic young outsider, who grew up trapped between social housing and foster families, constantly struggles to be what he should have been. Free. The film subtly paints an intimate portrait of the filmmaker's younger brother searching for his place in society and provides unique insights into their extraordinary sibling relationship.

 

Danse Macabre

Danse Macabre

R
敦斯卡.彭西迪佛拉高、帕薩拉溫.庫松邦Thunska PANSITTIVORAKUL, Phassarawin KULSOMBOON

'Danse Macabre' is a dance that explores deaths that are remembered and forgotten in history, including those of kings, citizens, and stateless people, on land that many kings chose as their vacation residence. People's deaths are as different as the social class they belong to, in a country where social inequality strongly persists.IIn Thailand, many deaths were suspicious in nature over the past 90 years, but nobody dared to question them.

 

Rain in 2020

Rain in 2020

PG-12
李永超LEE Yong-chao

Rain in 2020 took LEE Yong-chao seven years to make. It shows how a family copes with the changing situation and what is happening in Myanmar. Amid the pandemic in 2020, a torrential rain caused the family and the entire village to soak in the flooding sewage. Nobody knows when the muddy water will be gone and what will come after the storm.

 

By the Throat

By the Throat

G
艾菲 & 阿米爾Effi & Amir

Starting from a security check procedure at the entrance to the Tel Aviv airport, the film explores a more deeply engraved border, albeit an invisible one, which defines the sounds we can emit and the words we can pronounce. We carry with us these sonic and anatomical limits, created by our mother-tongue, becoming ourselves a mobile check-point, wherever we are.

 

Looking for Horses

Looking for Horses

G
史提凡.帕夫洛維奇Stefan PAVLOVIĆ

A film about a friendship between the filmmaker and a fisherman. One lost his mother-tongue because of a stutter, the other lost his hearing during the Bosnian civil war. They look for ways to communicate, while the camera mediates their growing bond, connection between language, friendship and trauma.

 
 

05/07

華山光點一廳

TimeProgrammeVenue / InfoAdd to My Schedule
12:30The Islands映後座談購票去
15:00Taste of Wild Tomato映後座談購票去
18:20K’s Room – The Creation and Destruction of the World
The Making of Crime Scenes
Kaohsiung City, Yancheng District, Fubei Rd., No.31
映後座談購票去
20:40Remember Me映後座談購票去

華山光點二廳

TimeProgrammeVenue / InfoAdd to My Schedule
13:40Kano: An American and His Harem購票去
15:40Depart for a New Life: One Promise
My Homework
映後座談購票去
18:00Silence in the Dust映後座談購票去
21:00Tondo, Beloved購票去

臺灣當代文化實驗場 102共享吧

TimeProgrammeVenue / InfoAdd to My Schedule
13:30Oliver映後座談
15:30菲律賓短輯#2:羅克斯李早期作品
Tronong Puti (White Throne)
Inserts
The Great Smoke
ABCD
Juan Gapang (Johnny Crawl)
SPIT/OPTIK
Mix One and Two
映後座談

國家影視聽中心小影格

TimeProgrammeVenue / InfoAdd to My Schedule
14:10We Are Zama Zama購票去
16:30Basal Banar (Sacred Ritual of Truth)購票去
19:30從汝浮波瀾:台灣女性實驗電影切片
Flow
Transcript (the other version)
The Window of Desire
Emulsion Connection
Sucker’s Love
Transactions
The Islands
How Old Are You? How Old Were You?
購票去

京站威秀九廳

TimeProgrammeVenue / InfoAdd to My Schedule
11:00Tokyo Kurds購票去
13:40A Silent Gaze映後座談購票去
18:00Children of the Mist映後座談購票去
21:00In Flow of Words
How to Improve the World
映後座談購票去

京站威秀十廳

TimeProgrammeVenue / InfoAdd to My Schedule
10:40Soy Libre購票去
12:40Danse Macabre映後座談購票去
15:30Rain in 2020映後座談購票去
18:10By the Throat映後座談購票去
20:50Looking for Horses映後座談購票去

05/08

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  • 0:00am
 
  • 10:00am
  • 10:30am
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  • 11:30am
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  • 12:30am
  • 1:00pm
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  • 11:00pm
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華山光點一廳

G

A Rolling Stone / The Catch

11:50am - 1:26pm
G

Crossing's End

3:00pm - 4:56pm
G

The Lucky Woman

6:10pm - 7:37pm
G

Broca's Aphasia

8:40pm - 10:05pm

A Rolling Stone

A Rolling Stone

P
葉家辰YEH Chia-chen

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. With a poor sense of direction, he jokes that he needs to ‘design an escape route’ everytime he goes back to his hometown. Carrying 37 keys, he seems to have no idea where life is leading him to. He is always looking for work, friends and love, but gets lost again and again.

 

The Catch

The Catch

G
許哲嘉HSU Che-chia

Every November to the following February, a group of Indigenous Taiwanese migrant workers set up the camps along Lanyang River in Yilan County to catch the season's first batch of eel fries. For those four months, these campsites are their home. But no amount of warmth from within the campsite can shield them from the harsh ocean winds, the volatile squatter environment, harassment from local gangs, or a slew of unpredictability that arise from living on unfriendly grounds.

 

Crossing's End

Crossing's End

G
施佑倫SHIH Yu-lun

In 2002, WANG and his girlfriend met up at a bridge to discuss the breakup, but then she accidentally fell off the bridge and died. WANG asked a friend to call an ambulance, while his girlfriend’s parents later accused them of murder. They weren’t prosecuted until a witness claimed the two of them threw the victim off the bridge. Thirteen years later, Taiwan Innocence Project decided to take on the case as there was no evidence apart from that altered witness testimony. In the face of many lingering doubts, what should one believe?

 

The Lucky Woman

The Lucky Woman

G
曾文珍TSENG Wen-chen

Tsao-yun paid an 8,000 USD recruitment fee and ran away before her 3-year contract was due. Wei-shing is also a ‘runaway’ who dealt with his homesickness by painting on the wall. Why running away? To make more money or to pursue better opportunities? The film presents the life of runaway migrant workers through Tsao-yun’s and Wei-shing’s narratives, showing how they risk their life working illegally, hoping to better support their families and change their own futures.

 

Broca's Aphasia

Broca's Aphasia

G
蘇明彥SU Ming-yen

An old downtown hotel had been visited by people with secrets. Each of them was assigned a number, and it was guaranteed that all the secrets would be forever kept in the hotel. No. 287 is quite a unique case. She hides her secrets in this hotel as well as a grand palace where her memories with her lover remain intact. Years later, the old hotel was relocated, and the palace was devoured by fire. All the secrets have thereby disappeared.

 
 

華山光點二廳

G

I Don't Feel at Home Anywhere Anymore / The Grass is Greener on the Other Side

12:20am - 1:35pm
G

Somewhere Over the Cloud

2:50pm - 4:32pm
G

A Trip of the Moon / Spectrum of Nostalgia

6:00pm - 6:57pm
G

Hard Good Life / Hard Good Life 2

8:10pm - 10:09pm

I Don't Feel at Home Anywhere Anymore

I Don't Feel at Home Anywhere Anymore

G
李蔚然Viv LI

A wistful but witty account of a trip to Beijing by director Viv LI, a Chinese art student who has been abroad for ten years. Her stay with her family mercilessly exposes how uprooted she has become by her life abroad.  

 

The Grass is Greener on the Other Side

The Grass is Greener on the Other Side

G
黃靖凝Crystal WONG

Thousands of Hongkongers, still living in the shadow of the 2019 protests, are immigrating to the UK to forge a freer future. This film documents their struggle to break free from a homeland that is no longer welcoming, while holding on to the Hongkonger identity in which they find purpose. In exile, can the Hongkonger identity persevere, or is it destined to obscurity? Can they really find a place to call home?

 
雲的那端

Somewhere Over the Cloud

Somewhere Over the Cloud

G
蕭美玲HSIAO Mei-ling

A series of emails that the filmmaker wrote to her late mentor, the renowned American documentary filmmaker Robert KRAMER, are woven throughout the plot of a story as the boundaries of life, distance, language, identity and nationality are re-examined from the perspective of Elodie, her daughter.

 
月亮之旅

A Trip of the Moon

A Trip of the Moon

G
吳淑然Suzan HOPE

The filmmaker took a trip to Nepal and ended up embarking on a journey of self-discovery through a relationship. In a self-reflexive tone, the film ponders upon the transformation of her position within the relationship. As she resituated herself in geographical terms, she was also on a spiritual quest to her innermost self through destruction and reconstruction.

 
鄉愁/餘像

Spectrum of Nostalgia

Spectrum of Nostalgia

G
陳顗竹CHEN Yi-chu

In T. S. ELIOT’s rendition, ‘What might have been is an abstraction remaining a perpetual possibility only in a world of speculation.’ When looking into the past, the filmmaker finds her memories fading and her past self on the verge of vanishing. Through the usage of family's archival materials, she aims to explore the relationship between one’s being, body, memory, imagery and death.

 
雜菜記

Hard Good Life

Hard Good Life

G
許慧如HSU Hui-ju

A quiet daily life of a father recorded by his daughter, filled with ordinary moments of extraordinary emotion and subtle interactions, despite minimal dialogue conducted between them.

 
黑晝記

Hard Good Life 2

Hard Good Life 2

G
許慧如HSU Hui-ju

Ever since the filmmaker learned how to hold a camera, she had gazed at her father through the lens all the time. After her father got cancer, they went through all the hardship together. Their unbreakable bonds supported them to the very last moment.

 
 

臺灣當代文化實驗場 102共享吧

G

菲律賓短輯#1:遊記與移動記憶

11:00am - 11:56am
救命之書

Books

Books

G
路易斯.奎瑞那, 東那.沙勒斯Luis QUIRINO, Donna SALES

A video essay about the author's relationship with his father and the books that saved them during WWII, peppered with wit and kitsch. #Movement, Memory and Monument

 
行進之相

Track Projections

Track Projections

G
拉亞.馬丁Raya MARTIN

An abstract poetic film unveils a meditative train journey through a wintry countryside into a city at dusk, and simultaneously observes the medium that records what is observed, as a filmmaker travels across the world in search of another filmmaker. #Movement, Memory and Monument

 
不屬於我們的月光

The Moon Is Not Ours

The Moon Is Not Ours

G
瓊恩.雷贊Jon LAZAM

Shot with a consumer-level video camera, the film mainly consists of travel footage, chaotic and rapid at first before settling into a more relaxed pace, relaying feelings of distance, resignation and sadness. #Movement, Memory and Monument

 
遺失的卡帶與小事

Missing Cassettes, or Things Lost When Moving

Missing Cassettes, or Things Lost When Moving

G
莫文.艾奎諾Mervine AQUINO

Mervine AQUINO and his mother rummage into unpacked boxes of belongings, looking for their old home video tapes. Only one tape is found. Missing Cassettes salvages what remains of video memories, seeking to make sense of moments now obsolete and barely playable. #Movement, Memory and Monument

 
地址:碧瑤市十號

Baguio Address No. 10

Baguio Address No. 10

G
莫文.艾奎諾Mervine AQUINO

Reflecting on the filmmaker's familial experiences of moving from house to house in Baguio City, Philippines, the film interweaves home videos, old photographs, recorded conversations, and mobile phone videos in an attempt to imagine a future home through cinema. #Movement, Memory and Monument

 
藥啦!

Droga!

Droga!

G
米可.瑞維雷薩Miko REVEREZA

A personal glimpse into Los Angeles and American popular culture from the perspective of a Filipino immigrant. Through navigational directions and a list of missing things, the film makes visible the gap between the attributes and expressions of diverse cultural identities. #Movement, Memory and Monument

 
那些年崩解的記憶93—96

Disintegration 93-96

Disintegration 93-96

G
米可.瑞維雷薩Miko REVEREZA

Pent-up emotions of an immigrant in the USA give way to political ruminations and critical commentaries on the colonisation of the mind by the American Dream. A montage of home movies presents an anatomy of family ties and a reliving of one's own identity. #Movement, Memory and Monument

 
被解碼的不只是花兒

flower codec lotus

flower codec lotus

G
吉奧.林高Gio LINGAO

Instigated through tensions in time between the filmmaker's childhood memories and his personal travel account of his short stay in Vienna, the film depicts a self-portrait of a modern Filipino broken by the living traumas of his troubled nation. #Movement, Memory and Monument

 
 

國家影視聽中心大影格

G

The 2nd Repatriation

12:00am - 2:36pm
G

比紀錄片還陌生#2

4:20pm - 5:37pm
G

Why Is Yellow the Middle of the Rainbow?

6:40pm - 9:30pm

The 2nd Repatriation

The 2nd Repatriation

G
金東元KIM Dongwon

In 2000, in the era of inter-Korean reconciliation, 63 non-converted long-term prisoners were repatriated to the North, and a 2nd repatriation movement was launched in 2001 but failed again and again in later years. As of 2022, the average age of the surviving secondary repatriation applicants is 91.

 
公轉休眠(還在自轉)

off (I don't know when to stop)

off (I don't know when to stop)

G
徐璐Erica SHEU

Day after day, sunset light travels through the kitchen. Lamps carry on when the sky gets dark. The frame finds its balance. Life in work and work in life.

 
約翰凱吉的姓氏

The Last Name of John Cage

The Last Name of John Cage

G
瑪戈.吉瑪Margaux GUILLEMARD

With only 4 minutes and 33 seconds, how much can one imagine and feel? The Last Name of John Cage acts as a dialogue between the silence of the first lockdown and a loud inner tension.

 
你在那裡說了什麼?

What is it that you said?

What is it that you said?

G
池添俊IKEZOE Shun

Filmed during the pandemic time, the film tracks the quiet movement of light and time, marking the progress of a year of small movements and intimate, imperfect exchanges.

 
以微物之名

In the Name of Small Things

In the Name of Small Things

G
珍.德納特Jen TARNATE

A cross between space transmission and prayer, an unknown being reached out into the void, asking what it means to be here, and to be vulnerably human and alien to our own existence all at once.

 
earthearthearth

G
Daïchi Saïto

Director SAÏTO coaxes complex shapes and patterns from the natural environment, with skies rendered in electric hues. Scored by experimental musician Jason SHARP, the result is a hypnotic, sensory meditation on our earth.

 
為什麼彩虹的中間是黃色

Why Is Yellow the Middle of the Rainbow?

Why Is Yellow the Middle of the Rainbow?

G
奇拉.塔西米克Kidlat TAHIMIK

TAHIMIK's magnum opus is an epic film diary spanning the 1980s, as the filmmaker teamed up with his eldest son to make their own 'spaghetti western' with their 'spaghetti machine'. The decade-long path of the film moves seamlessly from the personal to the political as TAHIMIK's camera documents the events leading from the assassination of Benigno AQUINO to the fall of the Marcoses, all shown through a 'third world projector' salvaged from a junk pile on Navajo land. #The Personal Is Political

 
 

國家影視聽中心小影格

G

菲律賓短輯#3:電影工作者福利基金會 Mowelfund(80s-90s)與叔叔阿姨電影社(10s-20s)

1:00pm - 2:02pm
G

Naglipana ang mga Mata (A Swarm of Eyes) / Nailed

2:50pm - 4:06pm
G

Small Talk

4:50pm - 6:18pm
G

The Island at the End of the World

7:30pm - 9:17pm
殖民藥不要

Botika Bituka

Botika Bituka

G
西薩.賀南多Cesar HERNANDO

Focusing on popular Filipino tongue-twisting words 'botika' (drug or pharmaceutical store) and 'bituka' (intestine), the film visualises their correlation in social, economic, and political context. #Film Communities at Different Times

 
停火的鄉間

Ceasefire: Countrysides

Ceasefire: Countrysides

G
伊萊.蓋伊三世Eli GUIEB III

Repetitive camera movements are combined with protest songs to produce a strident political statement. #Film Communities at Different Times

 
科迪勒拉民族映像

Kordilyera Images

Kordilyera Images

G
古柏.羅沙伯Cooper RESABAL

Contrasting traditional songs and attire from the Cordillera region with the urban environment, the film highlights the effect of neo-colonialism on the culture of the Cordillera people. #Film Communities at Different Times

 
馬尼拉折影

Sa Maynila

Sa Maynila

G
麥可.阿卡查藍, 喬.阿堤扎, 維克.巴坎尼, 瑞基.歐蘭拉納, 亞倫.希拉瑞歐Mike ALCAZAREN, Jo ATIENZA, Vic BACANI, Ricky ORELLANA, Allan HILARIO

This black and white film presents an impressionistic portrait of a Philippine metropolis. #Film Communities at Different Times

 
齋節一日

Murang Araw

Murang Araw

G
葉耶.卡爾德龍Yeye CALDERON

A collage film that finds its meaning from interspersing Lenten rites footage with random images using an optical printer. #Film Communities at Different Times

 
殖民繪影

Ars Colonia

Ars Colonia

G
拉亞.馬丁Raya MARTIN

A conquistador counts his blessings in this hand-colored elegy evoking silent film iconography. #Film Communities at Different Times

 
菲律賓群島拳擊

Boxing in the Philippine Islands

Boxing in the Philippine Islands

G
拉亞.馬丁Raya MARTIN

Boxing is a national pastime in the Philippines. During the course of a match, the crime rate is non-existent. The fight projected in movie theatres becomes an extension of the spectacle. #Film Communities at Different Times

 
男孩的忘憂河

Study on Lukas in Lukas the Strange

Study on Lukas in Lukas the Strange

G
約翰.托雷斯John TORRES

Village miracles caught on tape: images of a river that must be crossed to erase heartaches, imagined with a boy who has never experienced sorrow. #Film Communities at Different Times

 
菲鳥遷徙觀察日誌

A child dies, a child plays, a woman is born, a woman dies, a bird arrives, a bird flies off

A child dies, a child plays, a woman is born, a woman dies, a bird arrives, a bird flies off

G
希林.施諾Shireen SENO

Conducting a series of studies on bird migration inspired by the migration experience of filmmaker's father, the film aims to deal with a sense of mobility in various forms and times. #Film Communities at Different Times

 
班級合照

Class Picture

Class Picture

G
叔叔阿姨電影社Tito & Tita

A lyrical, nostalgic piece evoking faded memories and the archetypal class picture, develops alongside the crashing of waves on a beach in the background. #Film Communities at Different Times

 
來聽鄉野奇談

Naglipana ang mga Mata (A Swarm of Eyes)

Naglipana ang mga Mata (A Swarm of Eyes)

P
潔兒.曼多薩Jael MENDOZA

Shot using mobile phone and consumer-grade camera, A Swarm of Eyes explores familial history through the village's myths and old women's narratives of their dreams and anxieties. #Social and the Spiritual

 
釘牢信仰

Nailed

Nailed

G
安琪.維拉斯科.蕭Angel Velasco SHAW

Questions about 'faith' are raised in relation to Catholicism and 400 years of colonialism in the Pacific region. Inspired by Lucy REYES, a woman who has been re-enacting the Crucifixion for 21 years by being nailed to a cross, this film looks at the implications of worship, national, cultural and personal identity with a poetically woven montage of images, sounds, stories and performances. #Social and the Spiritual

 
日常對話

Small Talk

Small Talk

G
黃惠偵HUANG Hui-chen

We live in the same space, my mother and I. But we are like strangers under one roof. Our only exchanges are the meals she cooks and leaves for me on our dining table. No hellos, no goodbyes, let alone ‘I love you’. Silence permeates our house as I watch her, knowing that beneath the deafening silence lies a secret that weighs heavily on her. But am I ready to hear what she has to say?

 
世界盡頭之島

The Island at the End of the World

The Island at the End of the World

G
拉亞.馬丁Raya MARTIN

With an eye to both landscape and history, the film tracks MARTIN's inquiry into the rural community of Itbayat, one of the farthest-flung islands in the Philippine archipelago. Made during MARTIN's last year in film school, the result is an extraordinarily intimate, naturalistic diary-documentary that never lags behind, or runs ahead of, its viewers. #Unruly Geographies

 
 

京站威秀九廳

G

A Night of Knowing Nothing

10:20am - 11:57am
PG-15

Side by Side / Ploy

12:40am - 1:52pm
P

3:20pm - 4:28pm
G

The Burrows

6:00pm - 7:41pm
P

Blue Island

8:50pm - 10:27pm

A Night of Knowing Nothing

A Night of Knowing Nothing

G
帕亞爾.卡帕迪亞Payal KAPADIA

L, a university student in India, writes letters to her estranged lover, while he is away. Through these letters, we get a glimpse into the drastic changes taking place around her. Merging reality with dreams, memories, fantasies and anxieties, an amorphous narrative unfolds.

 

Side by Side

Side by Side

G
李坡連LY Polen

It was estimated that hundreds and thousands of people were forced to marry between 1975 and 1979 during the Khmer Rouge rule. The film delves into the past through daily routines in a rural indigenous village, as an elder couple recall their strange marriage to their grand-daughter, and sometimes to each other, in the changing rhythm of nature around them.

 

Ploy

Ploy

PG-15
普拉帕.吉瓦朗桑Prapat JIWARANGSAN

Inspired by the diary of a migrant worker, the film weaves several social and artistic threads together: the life a Thai migrant sex worker named Ploy who works in Singapore's 'jungle brothel'; the narratives of other migrant workers; an exploration of Singaporean forests and public parks; and the process through which the artist-filmmaker delves into and revisits Ploy's experience with an array of visual media.

 

Pink Mao

Pink Mao

G
唐菡TANG Han

Why do we see certain colours even when they aren't there? The filmmaker meticulously analyzes the one hundred CNY bill, which carries a portrait of MAO Zedong, and finds that – despite official representations and general perception – the banknote is pink rather than red. In a serious tone and colourful images, she also casually challenges entrenched notions about digitalization, globalisation, capitalism and gender.

 
我是透明的

Transparent, I am.

Transparent, I am.

G
村岡由梨MURAOKA Yuri

In 2020, when the world was forced to 'change', I wanted to confirm what had changed and what hadn't in me. The white mask I wore became the screen projecting my past. My family members sometimes suffer a lot, but support me nevertheless when I experience schizophrenia. We live today to the fullest while continuously looking for the answer to 'who we are'.

 

Crotch Stories

Crotch Stories

P
米蓮.吉雅斯密Myleine GUIARD-SCHMID

You will give birth in pain. Why? Are there other stories? In order to answer these questions, the filmmaker talks to women who professionally assist women giving birth or who have given birth themselves. Captured with a lavish palette of animation and playful stop-motion, Crotch Stories attempts to show how birth in fact does not always rhyme with pain, and thereby transmit a new imaginary: women who are on their way to reclaiming their bodies and their labours.

 

The Burrows

The Burrows

G
胡三壽HU Sanshou

In the town where the filmmaker was born, he and his family are following an age-old tradition by building a tomb for his grandparents. This carefully composed portrait of a village, interspersed with scenes of people at work, personal memories, and philosophical reflections, gradually unveils the spiritual world of the hometown and offers a meditation on existence itself.

 

Blue Island

Blue Island

P
陳梓桓CHAN Tze Woon

One risked rushing against raging waves to escape being involved in the Cultural Revolution; one resisted colonialism and was imprisoned due to participating in printing patriotic periodicals; one supported the students' demands for freedom, only to see their dreams and bodies crushed by tank treads. The past is presented in fictional scenes, with today's activists playing those of yesteryear, as their scarred memories and experiences become more tangled than ever.

 
 

京站威秀十廳

G

Landscapes of Resistance

10:40am - 12:15am
G

Eat Your Catfish

1:00pm - 2:14pm
G

A Thousand Fires

3:00pm - 4:31pm
P

Three Minutes - A Lengthening

5:50pm - 6:59pm
G

Weiyena - The Long March Home

8:20pm - 9:56pm

Landscapes of Resistance

Landscapes of Resistance

G
瑪塔.波皮沃達Marta POPIVODA

97-year-old antifascist fighter Sonja was one of the first female partisans in Yugoslavia and a member of the resistance in Auschwitz. By listening to Sonja's stories, we travel through the landscapes of her revolutionary past, as her memories start to intertwine with the filmmakers' own confrontation with the rising fascism in Europe today.

 
寂靜的喧嘩

Eat Your Catfish

Eat Your Catfish

G
亞當.艾森伯格、諾亞.阿米爾.阿卓曼、莎納姆.圖珊Adam ISENBERG, Noah Amir ARJOMAND, Senem TÜZEN

Kathryn's neuromuscular disease has left her paralyzed and her family's relations in tatters. Though despair finally overwhelms her, she holds on to see her daughter's wedding. Drawn from 930 hours of footage shot from Kathryn's point of view and without a crew present, this groundbreaking, personal portrait of a family pushed to its breaking point offers a brutally intimate view of disability and in-home caretaking.

 

A Thousand Fires

A Thousand Fires

G
薩伊德.塔吉.法魯奇Saeed TAJI FAROUKY

In the Magway region of Myanmar, a country home to one of the oldest petroleum industries in the world, live husband and wife Thein Shwe and Htwe Tin. Running an unregulated oil field, they produce a barrel every few days. They wish above all else to see their youngest son succeed, to break the cycle of poverty. A kettle boils. Mud slicked hands work sputtering machines. The ambient sound of a football match hums from a nearby television.

 

Three Minutes - A Lengthening

Three Minutes - A Lengthening

P
碧安卡.史帝格特Bianca STIGTER

The three minutes of footage explored in this extraordinary film is the only moving images left of the Jewish inhabitants of Nasielsk before the Holocaust. The filmmaker inhabits and examines every frame of the home movie Glenn KURTZ found in his parents' home in Florida, transforming the rare colour footage shot in 1938 Poland into a riveting and haunting essay film narrated by actress Helena Bonham CARTER that unravels the stories hidden in the celluloid.

 

Weiyena - The Long March Home

Weiyena - The Long March Home

G
趙維納, 朱迪思.本尼迪克Weina ZHAO, Judith BENEDIKT

Two family histories, one century and two metropolises merge in one person: Weina ZHAO, whose parents called her 'Vienna' – Wéiyěnà – because they emigrated to Austria. Her journey into the history of China leads to the Japanese Occupation and the Cultural Revolution, while tackling the great issues of the 21st century: migration, identity and the search for one's past.

 
 

05/08

華山光點一廳

TimeProgrammeVenue / InfoAdd to My Schedule
11:50A Rolling Stone
The Catch
映後座談購票去
15:00Crossing's End映後座談購票去
18:10The Lucky Woman映後座談購票去
20:40Broca's Aphasia映後座談購票去

華山光點二廳

TimeProgrammeVenue / InfoAdd to My Schedule
12:20I Don't Feel at Home Anywhere Anymore
The Grass is Greener on the Other Side
映後座談購票去
14:50Somewhere Over the Cloud映後座談購票去
18:00A Trip of the Moon
Spectrum of Nostalgia
映後座談購票去
20:10Hard Good Life
Hard Good Life 2
映後座談購票去

臺灣當代文化實驗場 102共享吧

TimeProgrammeVenue / InfoAdd to My Schedule
11:00菲律賓短輯#1:遊記與移動記憶
Books
Track Projections
The Moon Is Not Ours
Missing Cassettes, or Things Lost When Moving
Baguio Address No. 10
Droga!
Disintegration 93-96
flower codec lotus

國家影視聽中心大影格

TimeProgrammeVenue / InfoAdd to My Schedule
12:00The 2nd Repatriation映後座談購票去
16:20比紀錄片還陌生#2
off (I don't know when to stop)
The Last Name of John Cage
What is it that you said?
In the Name of Small Things

購票去
18:40Why Is Yellow the Middle of the Rainbow?購票去

國家影視聽中心小影格

TimeProgrammeVenue / InfoAdd to My Schedule
13:00菲律賓短輯#3:電影工作者福利基金會 Mowelfund(80s-90s)與叔叔阿姨電影社(10s-20s)
Botika Bituka
Ceasefire: Countrysides
Kordilyera Images
Sa Maynila
Murang Araw
Ars Colonia
Boxing in the Philippine Islands
Study on Lukas in Lukas the Strange
A child dies, a child plays, a woman is born, a woman dies, a bird arrives, a bird flies off
Class Picture
購票去
14:50Naglipana ang mga Mata (A Swarm of Eyes)
Nailed
購票去
16:50Small Talk映後座談購票去
19:30The Island at the End of the World購票去

京站威秀九廳

TimeProgrammeVenue / InfoAdd to My Schedule
10:20A Night of Knowing Nothing購票去
12:40Side by Side
Ploy
映後座談購票去
15:20
Pink Mao
Transparent, I am.
Crotch Stories
映後座談購票去
18:00The Burrows映後座談購票去
20:50Blue Island映後座談購票去

京站威秀十廳

TimeProgrammeVenue / InfoAdd to My Schedule
10:40Landscapes of Resistance購票去
13:00Eat Your Catfish購票去
15:00A Thousand Fires映後座談購票去
17:50Three Minutes - A Lengthening映後座談購票去
20:20Weiyena - The Long March Home映後座談購票去

05/09

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  • 10:00pm
  • 11:00pm
  • 0:00am
 
  • 11:00am
  • 11:30am
  • 12:00am
  • 12:30am
  • 1:00pm
  • 1:30pm
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  • 7:30pm
  • 8:00pm
  • 8:30pm
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  • 9:30pm
  • 10:00pm
  • 10:30pm
  • 11:00pm
  • 11:30pm
  • 0:00am
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華山光點一廳

G

Anak Araw (Albino)

1:50pm - 2:53pm
PG-12

The Bad Man

3:30pm - 4:46pm
G

K’s Room – The Creation and Destruction of the World / The Making of Crime Scenes / Kaohsiung City, Yancheng District, Fubei Rd., No.31

6:00pm - 6:55pm
G

Remember Me

8:20pm - 9:42pm
白色的孩子

Anak Araw (Albino)

Anak Araw (Albino)

G
詹姆.倫貝拉Gym LUMBERA

An albino boy muses on his supposed American father through a journey into language and identity, as he tries to learn English through reading translations and definitions from a Tagalog-English dictionary. Integrating original celluloid footage with archival material, this mysterious, dreamlike fantasy explores the nature of Filipino identity within a postcolonial context. #Film Communities at Different Times

 

The Bad Man

The Bad Man

PG-12
李永超LEE Yong-chao

Myanmar has the world’s longest ongoing civil war that has spanned more than 70 years. The Kachin Independence Army (KIA) is the ethnic rebel group most vehemently opposed to the ruling military junta. The protagonist of this film was conscripted into the KIA as a child, transforming him from an innocent kid into a ruthless man who talks about killing without hesitation. With all the wounds and experiences, he is now considering which path to take for the future.

 

K’s Room – The Creation and Destruction of the World

K’s Room – The Creation and Destruction of the World

G
洪瑋伶HUNG Wei-lin

K’s room’ is a mental space that serves as a metaphor for the complex relationship between men, boundaries, and the nation state during Taiwan’s martial law period. All the lines in the film were extracted from New English Grammar, one of Taiwan’s most popular English grammar books published in 1960, as a way of reconstructing the mental state of its author Mr. K who was sent to prison due to political reasons.

 

The Making of Crime Scenes

The Making of Crime Scenes

G
許哲瑜HSU Che-yu

During the martial law period, a Taiwanese American writer Henry LIU was shot dead by assassin WU Dun. This case was later confirmed to be a political murder jointly committed by the Military Intelligence Bureau and United Bamboo Gang in Taiwan. After being released from prison, WU became a film producer and established a film company that produced ‘wuxia films’. In this film, the filmmaker revisited WU’s abandoned studio to restage the events with forensic scanning techniques.

 

Kaohsiung City, Yancheng District, Fubei Rd., No.31

Kaohsiung City, Yancheng District, Fubei Rd., No.31

G
曾威量CHIANG Wei-liang

As a storied apartment complex awaits its eventual demolition, its inhabitants teeter on the edge of poverty, unaware that the deadliest building fire in the city's history will soon arrive.

 

Remember Me

Remember Me

G
洪淳修HUNG Chun-hsiu

HUNG Chun-hsiu spent seven years filming three residents of Kinmen island: an owner of a local photography shop, a retired officer and a Chinese woman from Sichuan province who came to Kinmen with the hope for a better future. Using photographs and archival materials, HUNG explores the personal stories of three residents and how they reflect upon the upheavals between the two sides of the Taiwan Strait.

 
 

華山光點二廳

G

According to China

1:40pm - 3:36pm
G

Depart for a New Life: One Promise / My Homework

4:10pm - 5:17pm
G

比紀錄片還陌生#3

6:00pm - 7:23pm
P

Avoiding Vision / Bloody Words / The River

8:00pm - 9:32pm
折騰

According to China

According to China

G
王我WANG Wo

The film explores various events and performances aired on television and internet in 2008, alongside related reports and discussions that came afterwards. Everybody seemed to have their own opinions and judgments. The year 2008 has passed, but similar situations still go on every single day.

 
國家大事

Depart for a New Life: One Promise

Depart for a New Life: One Promise

G
周旭薇CHOU She-wei

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.

 
我的回家作業

My Homework

My Homework

G
曾文珍TSENG Wen-chen

Director TSENG occasionally began to record the daily life of her mother, out of the need of completing her documentary assignment at school. The films presents a mother's persistence when facing difficulties and her love for her children. In the meantime, interactions and conversations between mother and daughter are revealed spontaneously.

 
蜃樓記

Chronicle of Nowhere

Chronicle of Nowhere

G
陳君典CHEN Chun-tien

A rare pod of futuristic houses lines a semi-abandoned neighbourhood outside Taipei. UFO Houses, featuring oval-shaped contours, manifests a utopian vision of the past: the future is light, colourful, and sentimental.

 
尋找烏托邦

Tracing Utopia

Tracing Utopia

G
卡特琳娜.德索薩、尼克.泰森Catarina DE SOUSA, Nick TYSON

An odyssey into the dreams of a group of queer teens in New York City as they envision a better world, while a collaborative manifesto weaves the past and future together.

 
是日方舟

Our Ark

Our Ark

G
德尼茲.圖坦、凱瑟琳.漢密頓Deniz TORTUM, Kathryn HAMILTON

We are backing up the planet, creating 3D models of animals, cities and people. We are archiving as if ecological collapse could be staved off through some digital Noah's Ark of beasts and objects.

 
汽車操控手冊

VO

VO

G
尼可拉斯.古羅Nicolas GOURAULT

An accident between a self-driving car and a pedestrian sets off an investigation about driverless cars. Testimonies from vehicle operators guide us through a night shift where the landscape merges with data from the car's sensors.

 
是你嗎

Avoiding Vision

Avoiding Vision

G
陳婉真Kite CHEN

One day, when she brushes her teeth, she sees a total stranger in the mirror. Three years ago, she decided to get surgery to put her crooked jaw back where it should be. This is a story about a person who does not like her body and decides to take action.

 
血日記

Bloody Words

Bloody Words

G
江映青CHIANG Ying-ching

How do you feel when menstruation is regarded as ‘dirty’? Through various personal experiences of menstruation, the film explores how prejudice and stereotypes impact on the way women deal with their menstrual cycles and bodies.

 
The River

The River

The River

P
許雅婷、修傑夫HSU Ya-ting, Geoffrey HUGHES

Director HSU Ya-ting, along with her husband Geoffrey HUGHES, explores childbirth and the physical and emotional toll that childbirth took on her personally. She uses her body as a canvas, providing viewers with a most intimate view of what the female body is subjected to when bringing a pregnancy to term.

 
 

京站威秀九廳

P

Little Palestine, Diary of a Siege

11:30am - 12:59am
G

A Silent Gaze

1:40pm - 4:41pm
G

A Rifle and a Bag

6:00pm - 7:30pm
G

In Flow of Words / How to Improve the World

9:00pm - 10:09pm

Little Palestine, Diary of a Siege

Little Palestine, Diary of a Siege

P
阿布達拉.哈蒂柏Abdallah AL-KHATIB

The district of Yarmouk in Syria sheltered the biggest Palestinian refugee camp in the world from 1957 to 2018. When the Syrian revolution broke out, the regime saw Yarmouk as a refuge of rebels and has set up a siege since 2013. Gradually deprived of food, medicine and electricity, the besieged inhabitants decided to face the siege with rallying, study, music, love and joy.

 

A Silent Gaze

A Silent Gaze

G
黃信堯HUANG Hsin-yao

Since 2009, the filmmaker has spent 12 years documenting the ever-changing times of three townships along the coast of Tainan County, namely Beimen, Jiangjun and Qigu. Through the lenses, human activities are seen closely connected with the surrounding nature, while maintaining its own charm. The film subtly captures a singular way of life and a sense of time suspended in the past, present and future. As a part of a discussion on memory and detemporality, this work comes in another 3-channel video installation as further dialogue with this single-channel video.

 

A Rifle and a Bag

A Rifle and a Bag

G
克里斯緹娜.漢斯、伊莎貝拉.里納迪、阿莉亞.羅特Cristina HANES, Isabella RINALDI, Arya ROTHE

Somi and her husband are striving to build a new life after fighting for a decade alongside the Naxalites, a Maoist guerrilla group from India. In the aftermath of surrendering to the police, the couple is struggling to safeguard their children's future through education. But the central government, they once fought against, seems to deny them a future and redemption.

 

In Flow of Words

In Flow of Words

P
伊莉安.艾斯特.博茨Eliane Esther BOTS

In Flow of Words follows the narratives of three interpreters of the International Criminal Tribunal for the former Yugoslavia. They interpreted shocking testimonies from witnesses, victims and perpetrators, without ever allowing their own emotions, feelings and personal histories to be present. Contrary to their position at the tribunal, this film places their voices and experiences centre stage.

 

How to Improve the World

How to Improve the World

G
阮純詩NGUYỄN Trinh Thi

Resisting the westernised reliance on images for creating narratives and experiencing the world, the film turns to music and sound as a way of perceiving through listening. While observing the loss of land and traditional ways of living, this aurally centred film reflects on the past, present and future of indigenous cultures of the people in Vietnam's Central Highlands.

 
 

京站威秀十廳

G

The Other One

1:20pm - 2:37pm
G

Looking for Horses

3:20pm - 4:48pm
P

Brotherhood

5:30pm - 7:07pm
P

Zinder

8:30pm - 9:54pm

The Other One

The Other One

G
弗朗西斯科.貝爾梅霍Francisco BERMEJO

Somewhere at the end of the world, where the ocean and rocks play their endless games of hide and seek, lives a man. In his mysterious solitude he is not alone. One day the remains of a white whale are washed up on the beach by a storm. In this stranded portrait inspired by H. MELVILLE's masterpiece Moby Dick, the director questions our inner reality and our own gaze on it.

 

Looking for Horses

Looking for Horses

G
史提凡.帕夫洛維奇Stefan PAVLOVIĆ

A film about a friendship between the filmmaker and a fisherman. One lost his mother-tongue because of a stutter, the other lost his hearing during the Bosnian civil war. They look for ways to communicate, while the camera mediates their growing bond, connection between language, friendship and trauma.

 

Brotherhood

Brotherhood

P
弗朗切斯科.蒙塔耶Francesco MONTAGNER

Three young Bosnian brothers, born into a family of shepherds. They grew up in the shadow of their father, Ibrahim, a strict, radical Islamist preacher. When Ibrahim gets sentenced to two years in prison, for war participation and terrorism, the three brothers are suddenly left on their own. The brothers explore their newly acquired freedom on the difficult journey to becoming men, searching for identity, and finding love.

 

Zinder

Zinder

P
艾莎.麥基Aicha MACKY

In the town of Zinder in Niger, the poor area of Kara-Kara which used to be the lepers' district, a culture of gang violence reigns. A group of youths is trying to break free from this violence, trying to start a family and make a life for themselves rather than end up in prison. The Zinder-born filmmaker films their daily lives divided between their gangs and their families, witnessing their desire to break free from the cycle of violence which has built their identities.

 
 

05/09

華山光點一廳

TimeProgrammeVenue / InfoAdd to My Schedule
13:50Anak Araw (Albino)購票去
15:30The Bad Man映後座談購票去
18:00K’s Room – The Creation and Destruction of the World
The Making of Crime Scenes
Kaohsiung City, Yancheng District, Fubei Rd., No.31
映後座談購票去
20:20Remember Me映後座談購票去

華山光點二廳

TimeProgrammeVenue / InfoAdd to My Schedule
13:40According to China購票去
16:10Depart for a New Life: One Promise
My Homework
購票去
18:00比紀錄片還陌生#3
Chronicle of Nowhere
Tracing Utopia
Our Ark
VO
購票去
20:00Avoiding Vision
Bloody Words
The River
映後座談購票去

京站威秀九廳

TimeProgrammeVenue / InfoAdd to My Schedule
11:30Little Palestine, Diary of a Siege購票去
13:40A Silent Gaze映後座談購票去
18:00A Rifle and a Bag映後座談購票去
21:00In Flow of Words
How to Improve the World
映後座談購票去

京站威秀十廳

TimeProgrammeVenue / InfoAdd to My Schedule
13:20The Other One購票去
15:20Looking for Horses購票去
17:30Brotherhood映後座談購票去
20:30Zinder購票去

05/10

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  • 9:30pm
  • 10:00pm
  • 10:30pm
  • 11:00pm
  • 11:30pm
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華山光點一廳

P

Green Jail

12:40am - 2:21pm
G

Crossing's End

3:00pm - 4:56pm
G

The Islands

6:10pm - 7:32pm
G

Broca's Aphasia

8:50pm - 10:15pm

Green Jail

Green Jail

P
黃胤毓HUANG Yin-yu

Grandma HASHIMA is the last Taiwanese who knows the secrets of ‘Green Jail’, the notorious coal mine before World War II in Okinawa, Japan. With hardly any visitors, she lives alone in an old and shaggy wooden house by the ‘jail on the sea’ where her family once lived, she recounts her experience of the coal mine days on the island. Through her memories of guilt, pain, anger, and the miseries of the past 80 years, this film portrays the last years of Grandma HASHIMA’s life.

 

Crossing's End

Crossing's End

G
施佑倫SHIH Yu-lun

In 2002, WANG and his girlfriend met up at a bridge to discuss the breakup, but then she accidentally fell off the bridge and died. WANG asked a friend to call an ambulance, while his girlfriend’s parents later accused them of murder. They weren’t prosecuted until a witness claimed the two of them threw the victim off the bridge. Thirteen years later, Taiwan Innocence Project decided to take on the case as there was no evidence apart from that altered witness testimony. In the face of many lingering doubts, what should one believe?

 

The Islands

The Islands

G
江偉華CHIANG Wei-hua

The Islands follows the journey of former student activist CHEN Ting-hao, as he decided to escape the toxic political environment of Taipei City. He ended up landing on Matsu Islands, a political backwater located off the coast of China. Serving as a political staffer managing local affairs, he is forced to ponder on the intricate interplay between political ideals and reality.

 

Broca's Aphasia

Broca's Aphasia

G
蘇明彥SU Ming-yen

An old downtown hotel had been visited by people with secrets. Each of them was assigned a number, and it was guaranteed that all the secrets would be forever kept in the hotel. No. 287 is quite a unique case. She hides her secrets in this hotel as well as a grand palace where her memories with her lover remain intact. Years later, the old hotel was relocated, and the palace was devoured by fire. All the secrets have thereby disappeared.

 
 

華山光點二廳

G

Tondo, Beloved

1:20pm - 2:36pm
G

Hard Good Life / Hard Good Life 2

3:20pm - 5:19pm
G

I Don't Feel at Home Anywhere Anymore / The Grass is Greener on the Other Side

6:00pm - 7:15pm
P

Dream / House Women Home

8:20pm - 10:03pm
摯愛的湯都

Tondo, Beloved

Tondo, Beloved

G
珠兒.馬拉南Jewel MARANAN

To what is the poor born? The film depicts the underlying hostilities between life and landscape in the expanding international port of Manila. Four lives unfold in micro-narratives of birth, youth, adulthood and death, a chronic struggle in poor communities squeezed within the gaps and seams of the port's industrial spaces. #Difficult Observation

 
雜菜記

Hard Good Life

Hard Good Life

G
許慧如HSU Hui-ju

A quiet daily life of a father recorded by his daughter, filled with ordinary moments of extraordinary emotion and subtle interactions, despite minimal dialogue conducted between them.

 
黑晝記

Hard Good Life 2

Hard Good Life 2

G
許慧如HSU Hui-ju

Ever since the filmmaker learned how to hold a camera, she had gazed at her father through the lens all the time. After her father got cancer, they went through all the hardship together. Their unbreakable bonds supported them to the very last moment.

 

I Don't Feel at Home Anywhere Anymore

I Don't Feel at Home Anywhere Anymore

G
李蔚然Viv LI

A wistful but witty account of a trip to Beijing by director Viv LI, a Chinese art student who has been abroad for ten years. Her stay with her family mercilessly exposes how uprooted she has become by her life abroad.  

 

The Grass is Greener on the Other Side

The Grass is Greener on the Other Side

G
黃靖凝Crystal WONG

Thousands of Hongkongers, still living in the shadow of the 2019 protests, are immigrating to the UK to forge a freer future. This film documents their struggle to break free from a homeland that is no longer welcoming, while holding on to the Hongkonger identity in which they find purpose. In exile, can the Hongkonger identity persevere, or is it destined to obscurity? Can they really find a place to call home?

 
夢

Dream

Dream

G
陳杏芬Olivia CHEN

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.

 
女兒巢

House Women Home

House Women Home

P
陳杏芬Olivia CHEN

At the foot of a mountain, there is a one-hundred-year-old house. Closely connected with each other, four women decide to become a real family there. In their capable hands, they build a home for women in this once deserted house.

 
 

京站威秀九廳

G

The Burrows

12:50am - 2:31pm
PG-15

Side by Side / Ploy

3:10pm - 4:22pm
G

Tokyo Kurds

5:30pm - 7:13pm
G

A Night of Knowing Nothing

8:30pm - 10:07pm

The Burrows

The Burrows

G
胡三壽HU Sanshou

In the town where the filmmaker was born, he and his family are following an age-old tradition by building a tomb for his grandparents. This carefully composed portrait of a village, interspersed with scenes of people at work, personal memories, and philosophical reflections, gradually unveils the spiritual world of the hometown and offers a meditation on existence itself.

 

Side by Side

Side by Side

G
李坡連LY Polen

It was estimated that hundreds and thousands of people were forced to marry between 1975 and 1979 during the Khmer Rouge rule. The film delves into the past through daily routines in a rural indigenous village, as an elder couple recall their strange marriage to their grand-daughter, and sometimes to each other, in the changing rhythm of nature around them.

 

Ploy

Ploy

PG-15
普拉帕.吉瓦朗桑Prapat JIWARANGSAN

Inspired by the diary of a migrant worker, the film weaves several social and artistic threads together: the life a Thai migrant sex worker named Ploy who works in Singapore's 'jungle brothel'; the narratives of other migrant workers; an exploration of Singaporean forests and public parks; and the process through which the artist-filmmaker delves into and revisits Ploy's experience with an array of visual media.

 

Tokyo Kurds

Tokyo Kurds

G
日向史有HYUGA Fumiari

In the 1990s, about 2,000 Turkish Kurdish refugees settled in a suburb of Tokyo; however, up until today, most of them are still illegal immigrants. Ozan has been working illegally as a construction worker, and is anxious about his uncertain future. Mehmet spent 520 days in detention for no apparent reason while suffering from a critical health condition without medical aid. Ramazan has been trying various ways to obtain a visa but his illegal immigrant status has kept him from his dream.

 

A Night of Knowing Nothing

A Night of Knowing Nothing

G
帕亞爾.卡帕迪亞Payal KAPADIA

L, a university student in India, writes letters to her estranged lover, while he is away. Through these letters, we get a glimpse into the drastic changes taking place around her. Merging reality with dreams, memories, fantasies and anxieties, an amorphous narrative unfolds.

 
 

京站威秀十廳

G

Weiyena - The Long March Home

1:20pm - 2:56pm
G

By the Throat

3:40pm - 4:58pm
PG-12

Soy Libre

5:40pm - 6:59pm
G

Landscapes of Resistance

8:20pm - 9:55pm

Weiyena - The Long March Home

Weiyena - The Long March Home

G
趙維納, 朱迪思.本尼迪克Weina ZHAO, Judith BENEDIKT

Two family histories, one century and two metropolises merge in one person: Weina ZHAO, whose parents called her 'Vienna' – Wéiyěnà – because they emigrated to Austria. Her journey into the history of China leads to the Japanese Occupation and the Cultural Revolution, while tackling the great issues of the 21st century: migration, identity and the search for one's past.

 

By the Throat

By the Throat

G
艾菲 & 阿米爾Effi & Amir

Starting from a security check procedure at the entrance to the Tel Aviv airport, the film explores a more deeply engraved border, albeit an invisible one, which defines the sounds we can emit and the words we can pronounce. We carry with us these sonic and anatomical limits, created by our mother-tongue, becoming ourselves a mobile check-point, wherever we are.

 

Soy Libre

Soy Libre

PG-12
羅荷.波堤耶Laure PORTIER

Just released from a juvenile detention centre, Arnaud longs for just one thing: unconditional freedom. The energetic young outsider, who grew up trapped between social housing and foster families, constantly struggles to be what he should have been. Free. The film subtly paints an intimate portrait of the filmmaker's younger brother searching for his place in society and provides unique insights into their extraordinary sibling relationship.

 

Landscapes of Resistance

Landscapes of Resistance

G
瑪塔.波皮沃達Marta POPIVODA

97-year-old antifascist fighter Sonja was one of the first female partisans in Yugoslavia and a member of the resistance in Auschwitz. By listening to Sonja's stories, we travel through the landscapes of her revolutionary past, as her memories start to intertwine with the filmmakers' own confrontation with the rising fascism in Europe today.

 
 

05/10

華山光點一廳

TimeProgrammeVenue / InfoAdd to My Schedule
12:40Green Jail購票去
15:00Crossing's End映後座談購票去
18:10The Islands映後座談購票去
20:50Broca's Aphasia映後座談購票去

華山光點二廳

TimeProgrammeVenue / InfoAdd to My Schedule
13:20Tondo, Beloved購票去
15:20Hard Good Life
Hard Good Life 2
購票去
18:00I Don't Feel at Home Anywhere Anymore
The Grass is Greener on the Other Side
映後座談購票去
20:20Dream
House Women Home
映後座談購票去

京站威秀九廳

TimeProgrammeVenue / InfoAdd to My Schedule
12:50The Burrows購票去
15:10Side by Side
Ploy
映後座談購票去
17:30Tokyo Kurds映後座談購票去
20:30A Night of Knowing Nothing映後座談購票去

京站威秀十廳

TimeProgrammeVenue / InfoAdd to My Schedule
13:20Weiyena - The Long March Home購票去
15:40By the Throat購票去
17:40Soy Libre映後座談購票去
20:20Landscapes of Resistance映後座談購票去

05/11

  • 11:00am
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  • 11:00am
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華山光點一廳

P

Taste of Wild Tomato

2:30pm - 4:33pm
G

A Rolling Stone / The Catch

5:40pm - 7:16pm
G

The Lucky Woman

8:40pm - 10:07pm

Taste of Wild Tomato

Taste of Wild Tomato

P
廖克發LAU Kek-huat

Kaohsiung served as an important military base under Japanese colonial rule and had incurred heavy casualties during the 228 Incident. The film subtly tends to the deep scars of the witnesses, survivors and their descendants as an act of resistance to oblivion. Memories survive through different eras of oppression and continue to live in people’s hearts, just like the wild tomatoes grown in this land.

 

A Rolling Stone

A Rolling Stone

P
葉家辰YEH Chia-chen

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. With a poor sense of direction, he jokes that he needs to ‘design an escape route’ everytime he goes back to his hometown. Carrying 37 keys, he seems to have no idea where life is leading him to. He is always looking for work, friends and love, but gets lost again and again.

 

The Catch

The Catch

G
許哲嘉HSU Che-chia

Every November to the following February, a group of Indigenous Taiwanese migrant workers set up the camps along Lanyang River in Yilan County to catch the season's first batch of eel fries. For those four months, these campsites are their home. But no amount of warmth from within the campsite can shield them from the harsh ocean winds, the volatile squatter environment, harassment from local gangs, or a slew of unpredictability that arise from living on unfriendly grounds.

 

The Lucky Woman

The Lucky Woman

G
曾文珍TSENG Wen-chen

Tsao-yun paid an 8,000 USD recruitment fee and ran away before her 3-year contract was due. Wei-shing is also a ‘runaway’ who dealt with his homesickness by painting on the wall. Why running away? To make more money or to pursue better opportunities? The film presents the life of runaway migrant workers through Tsao-yun’s and Wei-shing’s narratives, showing how they risk their life working illegally, hoping to better support their families and change their own futures.

 
 

華山光點二廳

G

Kano: An American and His Harem

2:20pm - 3:40pm
G

A Trip of the Moon / Spectrum of Nostalgia

4:20pm - 5:17pm
G

Tito's Wedding / Cesar Asar

6:10pm - 7:45pm
G

記錄X記憶#3

8:30pm - 10:06pm
美國佬與他的後宮

Kano: An American and His Harem

Kano: An American and His Harem

G
蒙絲特.希門尼斯Monster JIMENEZ

In 1969, an American Vietnam War hero by the name of Victor PEARSON moved to a poor, remote village in the Philippines and invited hundreds of women to live with him. In 2002, he was charged with over 80 counts of rape. In the Philippines, he is known as Kano, Filipino slang for Amerikano. #Empire and Libidinal Economy

 
月亮之旅

A Trip of the Moon

A Trip of the Moon

G
吳淑然Suzan HOPE

The filmmaker took a trip to Nepal and ended up embarking on a journey of self-discovery through a relationship. In a self-reflexive tone, the film ponders upon the transformation of her position within the relationship. As she resituated herself in geographical terms, she was also on a spiritual quest to her innermost self through destruction and reconstruction.

 
鄉愁/餘像

Spectrum of Nostalgia

Spectrum of Nostalgia

G
陳顗竹CHEN Yi-chu

In T. S. ELIOT’s rendition, ‘What might have been is an abstraction remaining a perpetual possibility only in a world of speculation.’ When looking into the past, the filmmaker finds her memories fading and her past self on the verge of vanishing. Through the usage of family's archival materials, she aims to explore the relationship between one’s being, body, memory, imagery and death.

 
我叔叔要出嫁

Tito's Wedding

Tito's Wedding

G
摩李、羅克斯李Monlee, Roxlee

A young boy narrates some scenes from his uncle's rural wedding. #Laughing til It Hurts (Roxlee's Social Comedy in the 1990s)

 
飛不出去的菲律賓男孩

Cesar Asar

Cesar Asar

G
摩李、羅克斯李Monlee, Roxlee

Starting out as a cartoonist for Jingle Magazine, Roxlee became a household name through the widely popular 'Cesar Asar' strip for Manila Bulletin. This film version includes footage from the short film Tito's Wedding, vividly portraying an aimless, idle life set in the small town in the Philippines, interwoven with keen observation on the social-political dilemma of the nation. #Laughing til It Hurts (Roxlee's Social Comedy in the 1990s)

 
文明繪語

Apiyemiyekî?

Apiyemiyekî?

G
安娜.瓦茲Ana VAZ

An archive of drawings made by the Waimiri-Atroari during their first literacy experience built a collective visual memory from their learning process, perspective and territory, while attesting to a series of violent attacks taking place during the Military Dictatorship.

 
直到海裡長出森林

When the Sea Sends Forth a Forest

When the Sea Sends Forth a Forest

G
劉廣隸LIU Guangli

Images simulated in real time by a graphics engine are interwoven with fragments of archival footage, while telling the story of a Chinese survivor of the Khmer Rouge and reflecting upon how traumatic historical events continue to reshape our present in virtue of today’s narration.

 
後現代韓國

Post Modern Korea

Post Modern Korea

G
李泰雄LEE Taewoong

In the early 1990s, South Korea started regaining confidence in itself. ‘We hosted one of the most successful Olympic games ever. We are rich enough. Nobody can look down on us now. We are finally SOMEBODY.’ But there was one problem. Korea’s past history, especially in relation to Japan, is something many Koreans wish to forget and erase from the history books if possible. How could Koreans straighten their ‘distorted’ history?

 
 

京站威秀九廳

PG-12

Children of the Mist

11:00am - 12:32am
PG-15

206: Unearthed

1:20pm - 2:53pm
P

Blue Island

3:40pm - 5:17pm
P

Pink Mao / Transparent, I am. / Crotch Stories

6:00pm - 7:08pm
P

Little Palestine, Diary of a Siege

8:30pm - 9:59pm

Children of the Mist

Children of the Mist

PG-12
何黎艷HÀ LỆ Diễm

Di is a 12-year-old girl living in a village in the mist of Northwest Vietnamese mountains. She belongs to the Hmong ethnic minority where women get married very young, enduring the controversial tradition of 'bride-kidnapping'. When Di enters puberty, the carefree little girl has turned into an impetuous, hypersensitive teenager. On the Lunar New Year's Eve, when Di's parents come back home after celebrating, the house is silent and empty: Di has disappeared.

 

206: Unearthed

206: Unearthed

PG-15
許喆寧HEO Chul-nyung

More than a million South Koreans died during the Korean War and the full extent of the atrocities committed during the war remains unknown to this day. In 2005, the Truth and Reconciliation Commission (TRC) uncovered 168 massacres, but by 2010, the commission was shut down. Haunted by the unsolved murders, these former investigators and the bereaved families restarted a project at various areas to uncover the truth on their own.

 

Blue Island

Blue Island

P
陳梓桓CHAN Tze Woon

One risked rushing against raging waves to escape being involved in the Cultural Revolution; one resisted colonialism and was imprisoned due to participating in printing patriotic periodicals; one supported the students' demands for freedom, only to see their dreams and bodies crushed by tank treads. The past is presented in fictional scenes, with today's activists playing those of yesteryear, as their scarred memories and experiences become more tangled than ever.

 

Pink Mao

Pink Mao

G
唐菡TANG Han

Why do we see certain colours even when they aren't there? The filmmaker meticulously analyzes the one hundred CNY bill, which carries a portrait of MAO Zedong, and finds that – despite official representations and general perception – the banknote is pink rather than red. In a serious tone and colourful images, she also casually challenges entrenched notions about digitalization, globalisation, capitalism and gender.

 
我是透明的

Transparent, I am.

Transparent, I am.

G
村岡由梨MURAOKA Yuri

In 2020, when the world was forced to 'change', I wanted to confirm what had changed and what hadn't in me. The white mask I wore became the screen projecting my past. My family members sometimes suffer a lot, but support me nevertheless when I experience schizophrenia. We live today to the fullest while continuously looking for the answer to 'who we are'.

 

Crotch Stories

Crotch Stories

P
米蓮.吉雅斯密Myleine GUIARD-SCHMID

You will give birth in pain. Why? Are there other stories? In order to answer these questions, the filmmaker talks to women who professionally assist women giving birth or who have given birth themselves. Captured with a lavish palette of animation and playful stop-motion, Crotch Stories attempts to show how birth in fact does not always rhyme with pain, and thereby transmit a new imaginary: women who are on their way to reclaiming their bodies and their labours.

 

Little Palestine, Diary of a Siege

Little Palestine, Diary of a Siege

P
阿布達拉.哈蒂柏Abdallah AL-KHATIB

The district of Yarmouk in Syria sheltered the biggest Palestinian refugee camp in the world from 1957 to 2018. When the Syrian revolution broke out, the regime saw Yarmouk as a refuge of rebels and has set up a siege since 2013. Gradually deprived of food, medicine and electricity, the besieged inhabitants decided to face the siege with rallying, study, music, love and joy.

 
 

京站威秀十廳

G

Her Violet Kiss / Decasia

11:40am - 12:52am
P

Three Minutes - A Lengthening

1:50pm - 2:59pm
R

Danse Macabre

3:40pm - 5:10pm
PG-12

Rain in 2020

6:00pm - 7:19pm
G

Eat Your Catfish

8:30pm - 9:44pm
紫羅蘭之吻

Her Violet Kiss

Her Violet Kiss

G
比爾.莫里森Bill MORRISON

A woman attends a party where she is observed by and finally meets a mysterious guest. Her Violet Kiss is Bill MORRISON’s latest example of cinematic alchemy in which he transforms distressed footage from the 1928 German film Pawns of Passion into a haunting new work.

 
賽璐珞之蝕

Decasia

Decasia

G
比爾.莫里森Bill MORRISON

An experimental feature which sets stunning archival footage to an original symphonic score by Michael GORDON. Using nitrate-based master elements with severe emulsion deterioration, Decasia depicts Man’s struggle to transcend his own mortality as the very fabric of his world disintegrates before our eyes.

 

Three Minutes - A Lengthening

Three Minutes - A Lengthening

P
碧安卡.史帝格特Bianca STIGTER

The three minutes of footage explored in this extraordinary film is the only moving images left of the Jewish inhabitants of Nasielsk before the Holocaust. The filmmaker inhabits and examines every frame of the home movie Glenn KURTZ found in his parents' home in Florida, transforming the rare colour footage shot in 1938 Poland into a riveting and haunting essay film narrated by actress Helena Bonham CARTER that unravels the stories hidden in the celluloid.

 

Danse Macabre

Danse Macabre

R
敦斯卡.彭西迪佛拉高、帕薩拉溫.庫松邦Thunska PANSITTIVORAKUL, Phassarawin KULSOMBOON

'Danse Macabre' is a dance that explores deaths that are remembered and forgotten in history, including those of kings, citizens, and stateless people, on land that many kings chose as their vacation residence. People's deaths are as different as the social class they belong to, in a country where social inequality strongly persists.IIn Thailand, many deaths were suspicious in nature over the past 90 years, but nobody dared to question them.

 

Rain in 2020

Rain in 2020

PG-12
李永超LEE Yong-chao

Rain in 2020 took LEE Yong-chao seven years to make. It shows how a family copes with the changing situation and what is happening in Myanmar. Amid the pandemic in 2020, a torrential rain caused the family and the entire village to soak in the flooding sewage. Nobody knows when the muddy water will be gone and what will come after the storm.

 
寂靜的喧嘩

Eat Your Catfish

Eat Your Catfish

G
亞當.艾森伯格、諾亞.阿米爾.阿卓曼、莎納姆.圖珊Adam ISENBERG, Noah Amir ARJOMAND, Senem TÜZEN

Kathryn's neuromuscular disease has left her paralyzed and her family's relations in tatters. Though despair finally overwhelms her, she holds on to see her daughter's wedding. Drawn from 930 hours of footage shot from Kathryn's point of view and without a crew present, this groundbreaking, personal portrait of a family pushed to its breaking point offers a brutally intimate view of disability and in-home caretaking.

 
 

05/11

華山光點一廳

TimeProgrammeVenue / InfoAdd to My Schedule
14:30Taste of Wild Tomato映後座談購票去
17:40A Rolling Stone
The Catch
映後座談購票去
20:40The Lucky Woman映後座談購票去

華山光點二廳

TimeProgrammeVenue / InfoAdd to My Schedule
14:20Kano: An American and His Harem購票去
16:20A Trip of the Moon
Spectrum of Nostalgia
購票去
18:10Tito's Wedding
Cesar Asar
購票去
20:30記錄X記憶#3
Apiyemiyekî?
When the Sea Sends Forth a Forest
Post Modern Korea
購票去

京站威秀九廳

TimeProgrammeVenue / InfoAdd to My Schedule
11:00Children of the Mist購票去
13:20206: Unearthed購票去
15:40Blue Island購票去
18:00Pink Mao
Transparent, I am.
Crotch Stories
映後座談購票去
20:30Little Palestine, Diary of a Siege映後座談購票去

京站威秀十廳

TimeProgrammeVenue / InfoAdd to My Schedule
11:40Her Violet Kiss
Decasia
購票去
13:50Three Minutes - A Lengthening購票去
15:40Danse Macabre購票去
18:00Rain in 2020映後座談購票去
20:30Eat Your Catfish映後座談購票去

05/12

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華山光點一廳

G

比紀錄片還陌生#1

2:20pm - 3:22pm
P

Mother Dao, the Turtlelike

4:10pm - 5:39pm
G

記錄X記憶#1

6:20pm - 7:47pm
P

Letter to San Zaw Htway / Irradiated

8:30pm - 10:23pm
祝你中秋快樂

I Wish You Happy Moon Festival

I Wish You Happy Moon Festival

G
王曉璐WANG Xiaolu

Between unsatisfying phone calls, between Chinese holidays I no longer celebrate, you might find the grief in my lungs, breathing in and breathing out. This is a film in memory of my grandmother, who is breathing with me in the spirit world.

 
藍房子

Blue House

Blue House

G
章夢奇ZHANG Mengqi

When the pandemic broke out, the filmmaker began to document the outside world from her window. A public space, Blue House, was finally realised but made empty for an indefinite time.

 
數日子

Count

Count

G
阿嘉妮・阿盧帕克Adjani ARUMPAC

Through the formal report of the Philippine Drug War and COVID-19 fatalities, this video essay explores data generated in a milieu of oppression, as the spectre of colonial history impinges on the daily life of a middle class family.

 
疫鄉紫羅蘭

Usambara Violet

Usambara Violet

G
安曼.瓦德漢Aman WADHAN

Some potted plants, odd hours of wakefulness, and the view from my window. A heliotropic film from the lockdown in Budapest.

 
大道之母

Mother Dao, the Turtlelike

Mother Dao, the Turtlelike

P
文生.莫尼肯丹Vincent MONNIKENDAM

A compilation of clips from documentaries and propaganda films shot by Dutch cameramen between 1912 and 1933 in their former colony of Indonesia. Much of the footage used to be shown in the Netherlands as an illustration of the beneficial effect of the Dutch presence, but nowadays it merely evokes negative associations. The filmmaker added natural sounds from Indonesia, indigenous music and recited poetry, but no voice-over.

 
仍在我心

Still on My Mind

Still on My Mind

G
吉塔林.伍堤凡Jittarin WUTHIPHAN

In order to submit a school project to tell a story about myself in 10 pictures, I decided to reminisce about a traumatic event that happened after the 9th King of Thailand passed away.

 
試圖記憶

I'm Trying to Remember

I'm Trying to Remember

G
佩嘉.阿罕賈拉尼Pegah AHANGARANI

To the accompaniment of a powerful sound score, filmmaker Pegah AHANGARANI uses photographs, videos, and vivid recollections from her own childhood to evoke a collective memory of the Iranian revolution.

 
記憶之鴿

A Pigeon's Song

A Pigeon's Song

G
埃紐斯.恰卡Eneos ÇARKA

While reading the diaries of his grandfather, imprisoned during the dictatorship of Hoxa in Albania, the director recognises the pigeon outside his window that kept him company during his incarceration. A short circuit that leads him to reflect on the open wounds of family history.

 
給珍的信

Letter to Jane

Letter to Jane

G
尚盧.高達、尚皮耶.戈罕Jean-Luc GODARD, Jean-Pierre GORIN

Made under the auspices of the Dziga Vertov Group, Letter to Jane is a postscript film to Tout Va Bien directed by Jean-Luc GODARD and Jean-Pierre GORIN. Narrated in a back-and-forth style, the film serves as a cinematic essay that deconstructs a single news photograph of Jane FONDA in Vietnam.

 
給緬甸的信

Letter to San Zaw Htway

Letter to San Zaw Htway

G
佩特.洛姆Petr LOM

DB_DataObject Error: DB Error: connect failed

 

Irradiated

Irradiated

P
潘禮德Rithy PANH

Through the encounters and testimonies of victims of bombings that remind him of his past and what he has lived through, director Rithy PANH crosses these stories in all senses, using images, words and looks that bear witness to the attempt to destroy the world. And yet the traces are there. Tangible, real. Even nature speaks. Some plants become monstrous, while others resist and heal wounds.

 
 

華山光點二廳

G

According to China

1:50pm - 3:46pm
P

Bontoc Eulogy / To Pick a Flower / The Retrochronological Transfer of Information

4:30pm - 5:56pm
P

記錄X記憶#2

6:40pm - 7:48pm
G

Silence in the Dust

8:40pm - 10:15pm
折騰

According to China

According to China

G
王我WANG Wo

The film explores various events and performances aired on television and internet in 2008, alongside related reports and discussions that came afterwards. Everybody seemed to have their own opinions and judgments. The year 2008 has passed, but similar situations still go on every single day.

 
邦塔頌歌

Bontoc Eulogy

Bontoc Eulogy

G
馬龍.芬堤斯Marlon FUENTES

As a personal story about the Filipino experience at the St. Louis World's Fair of 1904, the film unfolds from the perspective of two characters—a Filipino immigrant in America and an lgorot warrior held captive at the Fair. The film dramatically exposes the seminal contours of ethnic identity and experience in America, providing an innovative investigation of history, memory and the spectacle of the 'other' in turn-of-the-century America. #Colonial Narratives

 
摘取一朵花

To Pick a Flower

To Pick a Flower

P
希林.施諾Shireen SENO

A video essay explores the transformation and commodification of nature through archival photographs from the American colonial occupation of the Philippines in the first half of the 20th century. These images testify to what the voiceover calls 'the sticky relationship between humans and nature and their entanglements with empire', in the light of the concurrent processes of preservation, transmutation, and destruction. #Colonial Narratives

 
論反時序資訊傳輸

The Retrochronological Transfer of Information

The Retrochronological Transfer of Information

P
泰德.埃米塔諾Tad ERMITAÑO

Inspired by the works of the physicist Subrahmanyan CHANDRASEKHAR and the psychologist Carl JUNG, this 16mm film documents and embodies a modern-day scientist's attempt to communicate with José RIZAL, the Philippine National Hero, who was executed by the Spanish colonial government in 1896. #Colonial Narratives  

 
短短的歷史

A Short History

A Short History

G
徐璐Erica SHEU

An anonymous narrator recalls historical events as collective memory and national identity formed and collapsed. The film shifts back and forth between two reels of 16mm found footage.

 
戰爭製造戰爭

Dragooned

Dragooned

G
珊迪.阿梅利奥Sandy AMERIO

Feeling deprived of his status and confronted with a fear of his own disappearance, a man tries to renew links with his vital forces and lost faith through the incantation of a parallel heroic tale. At the very heart of the aesthetic of archival films, the filmmaker expresses the possibility of a vertiginous return of the Second World War into the present.

 
妳的死因:女性

Cause of Death

Cause of Death

P
裘蒂.米斯崔Jyoti MISTRY

Crush, beat, drown, hang, burn. Femicide. Women’s bodies are always at risk. Through archival film footage, animation and spoken word poetry, an experience of structural violence against women is exposed.

 

Silence in the Dust

Silence in the Dust

G
李維LI Wei

More than twenty years ago, Dazhang along with his three brothers came to Guangdong to work in a local quartz powder factory. However, a few years later, Dazhang was diagnosed with advanced staged pneumoconiosis. Returning to his hometown, the pneumoconiosis was gradually killing him every single day. The entire family was stuck in this seemingly endless suffering, while his children were still confused about what happened to their father.

 
 

京站威秀九廳

G

A Rifle and a Bag

1:20pm - 2:50pm
PG-15

Odoriko

3:30pm - 5:24pm
G

All Light, Everywhere

6:00pm - 7:49pm
G

Storm Children, Book One

8:30pm - 10:53pm

A Rifle and a Bag

A Rifle and a Bag

G
克里斯緹娜.漢斯、伊莎貝拉.里納迪、阿莉亞.羅特Cristina HANES, Isabella RINALDI, Arya ROTHE

Somi and her husband are striving to build a new life after fighting for a decade alongside the Naxalites, a Maoist guerrilla group from India. In the aftermath of surrendering to the police, the couple is struggling to safeguard their children's future through education. But the central government, they once fought against, seems to deny them a future and redemption.

 
踊子

Odoriko

Odoriko

PG-15
奥谷洋一郎OKUTANI Yoichiro

Odoriko are dancers of the dying art of Japanese strip theatre. Once a popular form of entertainment, today all but 20 strip clubs have closed nationwide. Like dancers' bodies disappearing into darkness when the stage spotlight dims at a show's end, the future of the strip theatre seems destined to follow. Deliberately filmed on mini-DV tape in an archaic frame ratio, this is a poignant and artful portrait of a vanishing culture behind the curtains.

 

All Light, Everywhere

All Light, Everywhere

G
席歐.安東尼Theo ANTHONY

An exploration of the shared histories of cameras, weapons, policing and justice. As surveillance technologies become a fixture in everyday life, the film interrogates the complexity of an objective point of view, probing the biases inherent in both human perception and the lens.

 
颶風之子,第一章

Storm Children, Book One

Storm Children, Book One

G
拉夫.迪亞茲Lav DIAZ

The Philippines is the most storm-battered country in the world. In 2013 Typhoon Yolanda, considered the strongest storm in history, struck the Philippines, leaving in its path apocalyptic devastation. A few months later, Lav DIAZ visited Tacloban Island to film children's lives in the aftermath. #Difficult Observation

 
 

京站威秀十廳

P

Zinder

1:00pm - 2:24pm
G

A Thousand Fires

3:10pm - 4:41pm
G

Epicentro

5:30pm - 7:18pm
P

Tour of Duty

8:00pm - 10:31pm

Zinder

Zinder

P
艾莎.麥基Aicha MACKY

In the town of Zinder in Niger, the poor area of Kara-Kara which used to be the lepers' district, a culture of gang violence reigns. A group of youths is trying to break free from this violence, trying to start a family and make a life for themselves rather than end up in prison. The Zinder-born filmmaker films their daily lives divided between their gangs and their families, witnessing their desire to break free from the cycle of violence which has built their identities.

 

A Thousand Fires

A Thousand Fires

G
薩伊德.塔吉.法魯奇Saeed TAJI FAROUKY

In the Magway region of Myanmar, a country home to one of the oldest petroleum industries in the world, live husband and wife Thein Shwe and Htwe Tin. Running an unregulated oil field, they produce a barrel every few days. They wish above all else to see their youngest son succeed, to break the cycle of poverty. A kettle boils. Mud slicked hands work sputtering machines. The ambient sound of a football match hums from a nearby television.

 

Epicentro

Epicentro

G
雨貝.梭裴Hubert SAUPER

An immersive and metaphorical portrait of post-colonial, ‘utopian’ Cuba, and its resilient people a century after the explosion of the USS Maine in Havana, the event that ushered in the American Empire alongside a modern form of world conquest: cinema as propaganda. In Epicentro, SAUPER explores a century of interventionism and myth-making together with the extraordinary people of Havana to interrogate time, imperialism and cinema itself.

 
記憶中那場停留

Tour of Duty

Tour of Duty

P
朴勁泰、金東鈴PARK Kyoungtae, KIM Dongryung

Personal retrospectives reveal life on an American base and in the nearby village following the end of the Korean War. The late testimony of three women forms a raw probe into the soul of women forced by circumstances into prostitution, and reveals the consequences of the presence of American soldiers on the lives of the local inhabitants.

 
 

05/12

華山光點一廳

TimeProgrammeVenue / InfoAdd to My Schedule
14:20比紀錄片還陌生#1
I Wish You Happy Moon Festival
Blue House
Count
Usambara Violet
購票去
16:10Mother Dao, the Turtlelike購票去
18:20記錄X記憶#1
Still on My Mind
I'm Trying to Remember
A Pigeon's Song
Letter to Jane
購票去
20:30Letter to San Zaw Htway
Irradiated
購票去

華山光點二廳

TimeProgrammeVenue / InfoAdd to My Schedule
13:50According to China購票去
16:30Bontoc Eulogy
To Pick a Flower
The Retrochronological Transfer of Information
購票去
18:40記錄X記憶#2
A Short History
Dragooned
Cause of Death
購票去
20:40Silence in the Dust購票去

京站威秀九廳

TimeProgrammeVenue / InfoAdd to My Schedule
13:20A Rifle and a Bag購票去
15:30Odoriko購票去
18:00All Light, Everywhere購票去
20:30Storm Children, Book One購票去

京站威秀十廳

TimeProgrammeVenue / InfoAdd to My Schedule
13:00Zinder購票去
15:10A Thousand Fires購票去
17:30Epicentro購票去
20:00Tour of Duty購票去

05/13

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華山光點一廳

G

Anak Araw (Albino)

2:10pm - 3:13pm
P

威廉.肯特里奇短片集#2

4:00pm - 5:15pm
G

威廉.肯特里奇短片集#1:素描投影

6:00pm - 7:22pm
G

比紀錄片還陌生#1

8:10pm - 9:12pm
白色的孩子

Anak Araw (Albino)

Anak Araw (Albino)

G
詹姆.倫貝拉Gym LUMBERA

An albino boy muses on his supposed American father through a journey into language and identity, as he tries to learn English through reading translations and definitions from a Tagalog-English dictionary. Integrating original celluloid footage with archival material, this mysterious, dreamlike fantasy explores the nature of Filipino identity within a postcolonial context. #Film Communities at Different Times

 
影子隊列

Shadow Procession

Shadow Procession

G
威廉.肯特里奇William KENTRIDGE

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.   In Shadow Procession, turning all manner of people into moving shadows is seemingly an homage to shadow play, but also showcases his understanding of light and shadow in reality. References to film are more pronounced and profound in Journey to the Moon, which combines animation and live-action, creates the cosmos in a studio, and converses with the magical illusions created by Georges MÉLIÈS. On the other hand, Second-hand Reading, Tango for Page Turning, Sonnets, Soft Dictionary and Sibyl are all part of KENTRIDGE’s iconic Flipbook films. He drew on old books, creating the most primitive of motion pictures through the flipping pages. He has also shown that, compared to philosophers who rely on language systems, artists are more willing to use images in the pauses and blank spaces between the words and lines to directly demonstrate their understanding of the world. As for Carnets d’Egypte, it comes from a project conceived especially for the Louvre. Through this work, his versatility in theatre offers a visual translation of ancient Egyptian culture in contemporary language.

 
十四行詩

Sonnets

Sonnets

G
威廉.肯特里奇William KENTRIDGE

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.   In Shadow Procession, turning all manner of people into moving shadows is seemingly an homage to shadow play, but also showcases his understanding of light and shadow in reality. References to film are more pronounced and profound in Journey to the Moon, which combines animation and live-action, creates the cosmos in a studio, and converses with the magical illusions created by Georges MÉLIÈS. On the other hand, Second-hand Reading, Tango for Page Turning, Sonnets, Soft Dictionary and Sibyl are all part of KENTRIDGE’s iconic Flipbook films. He drew on old books, creating the most primitive of motion pictures through the flipping pages. He has also shown that, compared to philosophers who rely on language systems, artists are more willing to use images in the pauses and blank spaces between the words and lines to directly demonstrate their understanding of the world. As for Carnets d’Egypte, it comes from a project conceived especially for the Louvre. Through this work, his versatility in theatre offers a visual translation of ancient Egyptian culture in contemporary language.

 
翻頁的探戈

Tango for Page Turning

Tango for Page Turning

G
威廉.肯特里奇William KENTRIDGE

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.   In Shadow Procession, turning all manner of people into moving shadows is seemingly an homage to shadow play, but also showcases his understanding of light and shadow in reality. References to film are more pronounced and profound in Journey to the Moon, which combines animation and live-action, creates the cosmos in a studio, and converses with the magical illusions created by Georges MÉLIÈS. On the other hand, Second-hand Reading, Tango for Page Turning, Sonnets, Soft Dictionary and Sibyl are all part of KENTRIDGE’s iconic Flipbook films. He drew on old books, creating the most primitive of motion pictures through the flipping pages. He has also shown that, compared to philosophers who rely on language systems, artists are more willing to use images in the pauses and blank spaces between the words and lines to directly demonstrate their understanding of the world. As for Carnets d’Egypte, it comes from a project conceived especially for the Louvre. Through this work, his versatility in theatre offers a visual translation of ancient Egyptian culture in contemporary language.

 
埃及筆記本

Carnets d'Egypte

Carnets d'Egypte

G
威廉.肯特里奇William KENTRIDGE

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.   In Shadow Procession, turning all manner of people into moving shadows is seemingly an homage to shadow play, but also showcases his understanding of light and shadow in reality. References to film are more pronounced and profound in Journey to the Moon, which combines animation and live-action, creates the cosmos in a studio, and converses with the magical illusions created by Georges MÉLIÈS. On the other hand, Second-hand Reading, Tango for Page Turning, Sonnets, Soft Dictionary and Sibyl are all part of KENTRIDGE’s iconic Flipbook films. He drew on old books, creating the most primitive of motion pictures through the flipping pages. He has also shown that, compared to philosophers who rely on language systems, artists are more willing to use images in the pauses and blank spaces between the words and lines to directly demonstrate their understanding of the world. As for Carnets d’Egypte, it comes from a project conceived especially for the Louvre. Through this work, his versatility in theatre offers a visual translation of ancient Egyptian culture in contemporary language.

 
二手閱讀

Second-hand Reading

Second-hand Reading

G
威廉.肯特里奇William KENTRIDGE

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.   In Shadow Procession, turning all manner of people into moving shadows is seemingly an homage to shadow play, but also showcases his understanding of light and shadow in reality. References to film are more pronounced and profound in Journey to the Moon, which combines animation and live-action, creates the cosmos in a studio, and converses with the magical illusions created by Georges MÉLIÈS. On the other hand, Second-hand Reading, Tango for Page Turning, Sonnets, Soft Dictionary and Sibyl are all part of KENTRIDGE’s iconic Flipbook films. He drew on old books, creating the most primitive of motion pictures through the flipping pages. He has also shown that, compared to philosophers who rely on language systems, artists are more willing to use images in the pauses and blank spaces between the words and lines to directly demonstrate their understanding of the world. As for Carnets d’Egypte, it comes from a project conceived especially for the Louvre. Through this work, his versatility in theatre offers a visual translation of ancient Egyptian culture in contemporary language.

 
軟字典

Soft Dictionary

Soft Dictionary

G
威廉.肯特里奇William KENTRIDGE

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.   In Shadow Procession, turning all manner of people into moving shadows is seemingly an homage to shadow play, but also showcases his understanding of light and shadow in reality. References to film are more pronounced and profound in Journey to the Moon, which combines animation and live-action, creates the cosmos in a studio, and converses with the magical illusions created by Georges MÉLIÈS. On the other hand, Second-hand Reading, Tango for Page Turning, Sonnets, Soft Dictionary and Sibyl are all part of KENTRIDGE’s iconic Flipbook films. He drew on old books, creating the most primitive of motion pictures through the flipping pages. He has also shown that, compared to philosophers who rely on language systems, artists are more willing to use images in the pauses and blank spaces between the words and lines to directly demonstrate their understanding of the world. As for Carnets d’Egypte, it comes from a project conceived especially for the Louvre. Through this work, his versatility in theatre offers a visual translation of ancient Egyptian culture in contemporary language.

 
女先知

Sibyl

Sibyl

G
威廉.肯特里奇William KENTRIDGE

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.   In Shadow Procession, turning all manner of people into moving shadows is seemingly an homage to shadow play, but also showcases his understanding of light and shadow in reality. References to film are more pronounced and profound in Journey to the Moon, which combines animation and live-action, creates the cosmos in a studio, and converses with the magical illusions created by Georges MÉLIÈS. On the other hand, Second-hand Reading, Tango for Page Turning, Sonnets, Soft Dictionary and Sibyl are all part of KENTRIDGE’s iconic Flipbook films. He drew on old books, creating the most primitive of motion pictures through the flipping pages. He has also shown that, compared to philosophers who rely on language systems, artists are more willing to use images in the pauses and blank spaces between the words and lines to directly demonstrate their understanding of the world. As for Carnets d’Egypte, it comes from a project conceived especially for the Louvre. Through this work, his versatility in theatre offers a visual translation of ancient Egyptian culture in contemporary language.

 
月球之旅

Journey to the Moon

Journey to the Moon

P
威廉.肯特里奇William KENTRIDGE

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.   In Shadow Procession, turning all manner of people into moving shadows is seemingly an homage to shadow play, but also showcases his understanding of light and shadow in reality. References to film are more pronounced and profound in Journey to the Moon, which combines animation and live-action, creates the cosmos in a studio, and converses with the magical illusions created by Georges MÉLIÈS. On the other hand, Second-hand Reading, Tango for Page Turning, Sonnets, Soft Dictionary and Sibyl are all part of KENTRIDGE’s iconic Flipbook films. He drew on old books, creating the most primitive of motion pictures through the flipping pages. He has also shown that, compared to philosophers who rely on language systems, artists are more willing to use images in the pauses and blank spaces between the words and lines to directly demonstrate their understanding of the world. As for Carnets d’Egypte, it comes from a project conceived especially for the Louvre. Through this work, his versatility in theatre offers a visual translation of ancient Egyptian culture in contemporary language.

 
約翰尼斯堡,僅次於巴黎之最偉大的城市

Johannesburg: 2nd Greatest City after Paris

Johannesburg: 2nd Greatest City after Paris

P
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
紀念碑

Monument

Monument

G
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
礦場

Mine

Mine

P
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
清醒、肥胖與年長

Sobriety, Obesity and Growing Old

Sobriety, Obesity and Growing Old

G
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
放逐的菲利克斯

Felix in Exile

Felix in Exile

P
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
控訴的歷史

History of the Main Complaint

History of the Main Complaint

G
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
重量與慾望

Weighing... and Wanting

Weighing... and Wanting

G
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
立體鏡

Stereoscope

Stereoscope

G
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
潮汐表

Tide Table

Tide Table

G
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
別的臉

Other Faces

Other Faces

G
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
城市之深

City Deep

City Deep

G
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
祝你中秋快樂

I Wish You Happy Moon Festival

I Wish You Happy Moon Festival

G
王曉璐WANG Xiaolu

Between unsatisfying phone calls, between Chinese holidays I no longer celebrate, you might find the grief in my lungs, breathing in and breathing out. This is a film in memory of my grandmother, who is breathing with me in the spirit world.

 
藍房子

Blue House

Blue House

G
章夢奇ZHANG Mengqi

When the pandemic broke out, the filmmaker began to document the outside world from her window. A public space, Blue House, was finally realised but made empty for an indefinite time.

 
數日子

Count

Count

G
阿嘉妮・阿盧帕克Adjani ARUMPAC

Through the formal report of the Philippine Drug War and COVID-19 fatalities, this video essay explores data generated in a milieu of oppression, as the spectre of colonial history impinges on the daily life of a middle class family.

 
疫鄉紫羅蘭

Usambara Violet

Usambara Violet

G
安曼.瓦德漢Aman WADHAN

Some potted plants, odd hours of wakefulness, and the view from my window. A heliotropic film from the lockdown in Budapest.

 
 

華山光點二廳

G

War Is a Tender Thing

1:40pm - 2:51pm
G

Tito's Wedding / Cesar Asar

3:30pm - 5:05pm
P

Dream / House Women Home

5:40pm - 7:23pm
P

Avoiding Vision / Bloody Words / The River

8:00pm - 9:32pm
戰爭是件溫柔事

War Is a Tender Thing

War Is a Tender Thing

G
阿嘉妮・阿盧帕克Adjani ARUMPAC

Through her own family's memories of struggle, Adjani unravels the story of the war-torn Southern Philippines as an endless attempt at survival and adaptation to state policies that disregard the most basic concept of home. However imperfect and partial, these memories make up a narrative of the war that is as cogent as the factual telling. #The Personal Is Political

 
我叔叔要出嫁

Tito's Wedding

Tito's Wedding

G
摩李、羅克斯李Monlee, Roxlee

A young boy narrates some scenes from his uncle's rural wedding. #Laughing til It Hurts (Roxlee's Social Comedy in the 1990s)

 
飛不出去的菲律賓男孩

Cesar Asar

Cesar Asar

G
摩李、羅克斯李Monlee, Roxlee

Starting out as a cartoonist for Jingle Magazine, Roxlee became a household name through the widely popular 'Cesar Asar' strip for Manila Bulletin. This film version includes footage from the short film Tito's Wedding, vividly portraying an aimless, idle life set in the small town in the Philippines, interwoven with keen observation on the social-political dilemma of the nation. #Laughing til It Hurts (Roxlee's Social Comedy in the 1990s)

 
夢

Dream

Dream

G
陳杏芬Olivia CHEN

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.

 
女兒巢

House Women Home

House Women Home

P
陳杏芬Olivia CHEN

At the foot of a mountain, there is a one-hundred-year-old house. Closely connected with each other, four women decide to become a real family there. In their capable hands, they build a home for women in this once deserted house.

 
是你嗎

Avoiding Vision

Avoiding Vision

G
陳婉真Kite CHEN

One day, when she brushes her teeth, she sees a total stranger in the mirror. Three years ago, she decided to get surgery to put her crooked jaw back where it should be. This is a story about a person who does not like her body and decides to take action.

 
血日記

Bloody Words

Bloody Words

G
江映青CHIANG Ying-ching

How do you feel when menstruation is regarded as ‘dirty’? Through various personal experiences of menstruation, the film explores how prejudice and stereotypes impact on the way women deal with their menstrual cycles and bodies.

 
The River

The River

The River

P
許雅婷、修傑夫HSU Ya-ting, Geoffrey HUGHES

Director HSU Ya-ting, along with her husband Geoffrey HUGHES, explores childbirth and the physical and emotional toll that childbirth took on her personally. She uses her body as a canvas, providing viewers with a most intimate view of what the female body is subjected to when bringing a pregnancy to term.

 
 

臺灣當代文化實驗場 102共享吧

G

Tronong Puti (White Throne) / Inserts / The Great Smoke / ABCD / Juan Gapang (Johnny Crawl) / SPIT/OPTIK / Mix One and Two / Oliver

5:00pm - 6:30pm
G

菲律賓短輯#1:遊記與移動記憶

7:30pm - 8:26pm
G

菲律賓短輯#1:遊記與移動記憶

8:00pm - 8:56pm
白色王座

Tronong Puti (White Throne)

Tronong Puti (White Throne)

P
泰德.艾拉格、羅克斯李Roxlee

A satire on the beneficial attributes of the chamber pot. #Animation and Action

 
影像亂入

Inserts

Inserts

羅克斯李Roxlee

A clashing collage of archival and found footage, presenting the colonial Philippine society in a sarcastic tone. #Animation and Action

 
好大好大的煙

The Great Smoke

The Great Smoke

G
摩李、羅克斯李Monlee, Roxlee

A biting satire on nuclear destruction, comprising found footage, collage, and animated drawings. #Animation and Action

 
ABCD

ABCD

ABCD

G
羅克斯李Roxlee

A new and personal take on the alphabet reveals multi-layered, comical meanings. #Animation and Action

 
強尼爬行記

Juan Gapang (Johnny Crawl)

Juan Gapang (Johnny Crawl)

P
羅克斯李 , 葉耶.卡德隆, 艾特.馬庫蘭噶Roxlee, Yeye CALDERON, At MACULANGAN

A man performs by crawling into the streets of Metro Manila wearing only a wig, white tights, and white body paints. #Animation and Action

 
無腦人/口水/光學遊戲

SPIT/OPTIK

SPIT/OPTIK

G
羅克斯李 , 葉耶.卡德隆, 艾特.馬庫蘭噶Roxlee, Yeye CALDERON, At MACULANGAN

A three-part experimental film combining animation, illustration, found footage, and liquid mercury. #Animation and Action

 
城鄉混音帶

Mix One and Two

Mix One and Two

P
羅克斯李Roxlee

A serene but critical look at what indiscriminate urbanisation has done to the natural environment. #Animation and Action

 
奧利佛

Oliver

Oliver

G
尼克.迪奧坎波Nick DEOCAMPO

The first installment in Nick DEOCAMPO's  'Ang Lungsod ng Tao ay Nasa Puso' trilogy, Oliver follows a female impersonator who supports his family by performing in Manila's gay bars. Shot in the final year of Marcos's dictatorship and revolutionary times, it is one of the most compelling illustrations of the fluidity of sexuality, as well as of the power of human agency in times of hardship. #Empire and Libidinal Economy

 
救命之書

Books

Books

G
路易斯.奎瑞那, 東那.沙勒斯Luis QUIRINO, Donna SALES

A video essay about the author's relationship with his father and the books that saved them during WWII, peppered with wit and kitsch. #Movement, Memory and Monument

 
行進之相

Track Projections

Track Projections

G
拉亞.馬丁Raya MARTIN

An abstract poetic film unveils a meditative train journey through a wintry countryside into a city at dusk, and simultaneously observes the medium that records what is observed, as a filmmaker travels across the world in search of another filmmaker. #Movement, Memory and Monument

 
不屬於我們的月光

The Moon Is Not Ours

The Moon Is Not Ours

G
瓊恩.雷贊Jon LAZAM

Shot with a consumer-level video camera, the film mainly consists of travel footage, chaotic and rapid at first before settling into a more relaxed pace, relaying feelings of distance, resignation and sadness. #Movement, Memory and Monument

 
遺失的卡帶與小事

Missing Cassettes, or Things Lost When Moving

Missing Cassettes, or Things Lost When Moving

G
莫文.艾奎諾Mervine AQUINO

Mervine AQUINO and his mother rummage into unpacked boxes of belongings, looking for their old home video tapes. Only one tape is found. Missing Cassettes salvages what remains of video memories, seeking to make sense of moments now obsolete and barely playable. #Movement, Memory and Monument

 
地址:碧瑤市十號

Baguio Address No. 10

Baguio Address No. 10

G
莫文.艾奎諾Mervine AQUINO

Reflecting on the filmmaker's familial experiences of moving from house to house in Baguio City, Philippines, the film interweaves home videos, old photographs, recorded conversations, and mobile phone videos in an attempt to imagine a future home through cinema. #Movement, Memory and Monument

 
藥啦!

Droga!

Droga!

G
米可.瑞維雷薩Miko REVEREZA

A personal glimpse into Los Angeles and American popular culture from the perspective of a Filipino immigrant. Through navigational directions and a list of missing things, the film makes visible the gap between the attributes and expressions of diverse cultural identities. #Movement, Memory and Monument

 
那些年崩解的記憶93—96

Disintegration 93-96

Disintegration 93-96

G
米可.瑞維雷薩Miko REVEREZA

Pent-up emotions of an immigrant in the USA give way to political ruminations and critical commentaries on the colonisation of the mind by the American Dream. A montage of home movies presents an anatomy of family ties and a reliving of one's own identity. #Movement, Memory and Monument

 
被解碼的不只是花兒

flower codec lotus

flower codec lotus

G
吉奧.林高Gio LINGAO

Instigated through tensions in time between the filmmaker's childhood memories and his personal travel account of his short stay in Vienna, the film depicts a self-portrait of a modern Filipino broken by the living traumas of his troubled nation. #Movement, Memory and Monument

 
 

國家影視聽中心大影格

G

Repatriation

3:30pm - 5:58pm
G

The 2nd Repatriation

6:50pm - 9:26pm
遣返

Repatriation

Repatriation

G
金東元KIM Dongwon

Repatriation chronicles the lives of ‘unconverted’ North Korean spies who were captured and imprisoned in South Korea for more than 30 years. Director KIM Dongwon developed a close relationship with them after their release from prison and eventually made a documentary that spanned 12 years in the making, providing a penetrating insight into the tragic consequences of the Cold War that still persist in Korea.

 

The 2nd Repatriation

The 2nd Repatriation

G
金東元KIM Dongwon

In 2000, in the era of inter-Korean reconciliation, 63 non-converted long-term prisoners were repatriated to the North, and a 2nd repatriation movement was launched in 2001 but failed again and again in later years. As of 2022, the average age of the surviving secondary repatriation applicants is 91.

 
 

國家影視聽中心小影格

G

Shattered Dreams

3:50pm - 5:30pm
G

Basal Banar (Sacred Ritual of Truth)

6:30pm - 8:26pm
離鄉背井去打工

Shattered Dreams

Shattered Dreams

G
李道明LEE Daw-ming

In the face of the sudden closure of the electronic factory, the three Thai migrant workers’ dreams of earning money to support their families were totally shattered. Would they give up their hopes due to all these miseries they experienced in Taiwan? This film offers an unexpected answer to this question.

 
祈願真理之歌

Basal Banar (Sacred Ritual of Truth)

Basal Banar (Sacred Ritual of Truth)

G
奧拉烏.索里托Auraeus SOLITO (Kanakan-Balintagos)

SOLITO returns to his hometown on Palawan Island and documents the sacred rituals and daily lives of its people, as the intrusion of multinational corporations and other forces constantly threatens the islanders' way of life. The echoes of percussion and rhythm of the images unite harmoniously, unveiling a personal rediscovery of indigenous roots in Southern Palawan. #Unruly Geographies

 
 

京站威秀十廳

P

Tour of Duty

3:00pm - 5:31pm
P

The First 54 Years – An Abbreviated Manual for Military Occupation

6:30pm - 8:20pm
G

Her Violet Kiss / Decasia

9:00pm - 10:12pm
記憶中那場停留

Tour of Duty

Tour of Duty

P
朴勁泰、金東鈴PARK Kyoungtae, KIM Dongryung

Personal retrospectives reveal life on an American base and in the nearby village following the end of the Korean War. The late testimony of three women forms a raw probe into the soul of women forced by circumstances into prostitution, and reveals the consequences of the presence of American soldiers on the lives of the local inhabitants.

 

The First 54 Years – An Abbreviated Manual for Military Occupation

The First 54 Years – An Abbreviated Manual for Military Occupation

P
艾維.莫葛洛比Avi MOGRABI

What is the meaning of a military occupation? Through the testimonies of the soldiers who implemented it, director Avi MOGRABI explains the functioning, logic and practices of a colonialist occupation. He uses the 54 years of Israeli occupation in the Palestinian territories of the West Bank and the Gaza Strip as the basis for a ‘Short Manual of a Military Occupation’.

 
紫羅蘭之吻

Her Violet Kiss

Her Violet Kiss

G
比爾.莫里森Bill MORRISON

A woman attends a party where she is observed by and finally meets a mysterious guest. Her Violet Kiss is Bill MORRISON’s latest example of cinematic alchemy in which he transforms distressed footage from the 1928 German film Pawns of Passion into a haunting new work.

 
賽璐珞之蝕

Decasia

Decasia

G
比爾.莫里森Bill MORRISON

An experimental feature which sets stunning archival footage to an original symphonic score by Michael GORDON. Using nitrate-based master elements with severe emulsion deterioration, Decasia depicts Man’s struggle to transcend his own mortality as the very fabric of his world disintegrates before our eyes.

 
 

05/13

華山光點二廳

TimeProgrammeVenue / InfoAdd to My Schedule
13:40War Is a Tender Thing購票去
15:30Tito's Wedding
Cesar Asar
購票去
17:40Dream
House Women Home
購票去
20:00Avoiding Vision
Bloody Words
The River
映後座談購票去

臺灣當代文化實驗場 102共享吧

TimeProgrammeVenue / InfoAdd to My Schedule
17:00Tronong Puti (White Throne)
Inserts
The Great Smoke
ABCD
Juan Gapang (Johnny Crawl)
SPIT/OPTIK
Mix One and Two
Oliver
19:30菲律賓短輯#1:遊記與移動記憶
Books
Track Projections
The Moon Is Not Ours
Missing Cassettes, or Things Lost When Moving
Baguio Address No. 10
Droga!
Disintegration 93-96
20:00菲律賓短輯#1:遊記與移動記憶
flower codec lotus

國家影視聽中心大影格

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15:30Repatriation購票去
18:50The 2nd Repatriation購票去

國家影視聽中心小影格

TimeProgrammeVenue / InfoAdd to My Schedule
15:50Shattered Dreams購票去
18:30Basal Banar (Sacred Ritual of Truth)映後座談購票去

京站威秀十廳

TimeProgrammeVenue / InfoAdd to My Schedule
15:00Tour of Duty購票去
18:30The First 54 Years – An Abbreviated Manual for Military Occupation購票去
21:00Her Violet Kiss
Decasia
購票去

05/14

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華山光點一廳

P

Letter to San Zaw Htway / Irradiated

1:10pm - 3:03pm
P

Mother Dao, the Turtlelike

3:50pm - 5:19pm
G

記錄X記憶#1

6:00pm - 7:27pm
G

There Will Be No More Night

8:50pm - 10:06pm
給緬甸的信

Letter to San Zaw Htway

Letter to San Zaw Htway

G
佩特.洛姆Petr LOM

DB_DataObject Error: DB Error: connect failed

 

Irradiated

Irradiated

P
潘禮德Rithy PANH

Through the encounters and testimonies of victims of bombings that remind him of his past and what he has lived through, director Rithy PANH crosses these stories in all senses, using images, words and looks that bear witness to the attempt to destroy the world. And yet the traces are there. Tangible, real. Even nature speaks. Some plants become monstrous, while others resist and heal wounds.

 
大道之母

Mother Dao, the Turtlelike

Mother Dao, the Turtlelike

P
文生.莫尼肯丹Vincent MONNIKENDAM

A compilation of clips from documentaries and propaganda films shot by Dutch cameramen between 1912 and 1933 in their former colony of Indonesia. Much of the footage used to be shown in the Netherlands as an illustration of the beneficial effect of the Dutch presence, but nowadays it merely evokes negative associations. The filmmaker added natural sounds from Indonesia, indigenous music and recited poetry, but no voice-over.

 
仍在我心

Still on My Mind

Still on My Mind

G
吉塔林.伍堤凡Jittarin WUTHIPHAN

In order to submit a school project to tell a story about myself in 10 pictures, I decided to reminisce about a traumatic event that happened after the 9th King of Thailand passed away.

 
試圖記憶

I'm Trying to Remember

I'm Trying to Remember

G
佩嘉.阿罕賈拉尼Pegah AHANGARANI

To the accompaniment of a powerful sound score, filmmaker Pegah AHANGARANI uses photographs, videos, and vivid recollections from her own childhood to evoke a collective memory of the Iranian revolution.

 
記憶之鴿

A Pigeon's Song

A Pigeon's Song

G
埃紐斯.恰卡Eneos ÇARKA

While reading the diaries of his grandfather, imprisoned during the dictatorship of Hoxa in Albania, the director recognises the pigeon outside his window that kept him company during his incarceration. A short circuit that leads him to reflect on the open wounds of family history.

 
給珍的信

Letter to Jane

Letter to Jane

G
尚盧.高達、尚皮耶.戈罕Jean-Luc GODARD, Jean-Pierre GORIN

Made under the auspices of the Dziga Vertov Group, Letter to Jane is a postscript film to Tout Va Bien directed by Jean-Luc GODARD and Jean-Pierre GORIN. Narrated in a back-and-forth style, the film serves as a cinematic essay that deconstructs a single news photograph of Jane FONDA in Vietnam.

 
永無黑夜

There Will Be No More Night

There Will Be No More Night

G
艾蓮諾.韋伯Éléonore WEBER

The pilots and gunners of attack helicopters use thermal cameras to observe movement on the ground in war zones. Using video recordings of French and American missions in Afghanistan, Iraq, and Syria, the film observes, interprets, and reflects on the modern form of war.

 
 

華山光點二廳

G

Eternity / Independencia

1:40pm - 3:22pm
R

No Desire to Hide

4:00pm - 5:31pm
P

記錄X記憶#2

6:10pm - 7:18pm
G

比紀錄片還陌生#3

8:30pm - 9:53pm
永恆解藥

Eternity

Eternity

雷蒙.瑞德Raymond RED

A young man searches for Ang Magpakailanman, a book which has the power to grant immortality. This surreal and at times nightmarish work, which Raymond RED shot, wrote, and directed, was made at only 17 years of age. #Colonial Narratives

 
獨立幻夢

Independencia

Independencia

G
拉亞.馬丁Raya MARTIN

In the early 20th century Philippines, the sounds of war signal the arrival of the Americans. A mother and son flee to the mountains, hoping for a quiet life. One day, the son discovers a wounded woman in the middle of the forest, and decides to bring her home. Years pass. Man, woman and child live in isolation from the growing chaos all over the country. But a coming storm soon threatens their existence, and American troops draw nearer. #Colonial Narratives

 

No Desire to Hide

No Desire to Hide

R
朱日坤ZHU Rikun

WU Haohao, a worshipper of MAO Zedong, describes himself as a video producer. He shoots a lot of videos, mostly with sexual content. He and his girlfriend try to function in an open relationship, which suits only one of the partners, while the other suffers and longs for a family life. The possibility of emigration to America is a hope, but it is gradually receding due to the worsening political situation.

 
短短的歷史

A Short History

A Short History

G
徐璐Erica SHEU

An anonymous narrator recalls historical events as collective memory and national identity formed and collapsed. The film shifts back and forth between two reels of 16mm found footage.

 
戰爭製造戰爭

Dragooned

Dragooned

G
珊迪.阿梅利奥Sandy AMERIO

Feeling deprived of his status and confronted with a fear of his own disappearance, a man tries to renew links with his vital forces and lost faith through the incantation of a parallel heroic tale. At the very heart of the aesthetic of archival films, the filmmaker expresses the possibility of a vertiginous return of the Second World War into the present.

 
妳的死因:女性

Cause of Death

Cause of Death

P
裘蒂.米斯崔Jyoti MISTRY

Crush, beat, drown, hang, burn. Femicide. Women’s bodies are always at risk. Through archival film footage, animation and spoken word poetry, an experience of structural violence against women is exposed.

 
蜃樓記

Chronicle of Nowhere

Chronicle of Nowhere

G
陳君典CHEN Chun-tien

A rare pod of futuristic houses lines a semi-abandoned neighbourhood outside Taipei. UFO Houses, featuring oval-shaped contours, manifests a utopian vision of the past: the future is light, colourful, and sentimental.

 
尋找烏托邦

Tracing Utopia

Tracing Utopia

G
卡特琳娜.德索薩、尼克.泰森Catarina DE SOUSA, Nick TYSON

An odyssey into the dreams of a group of queer teens in New York City as they envision a better world, while a collaborative manifesto weaves the past and future together.

 
是日方舟

Our Ark

Our Ark

G
德尼茲.圖坦、凱瑟琳.漢密頓Deniz TORTUM, Kathryn HAMILTON

We are backing up the planet, creating 3D models of animals, cities and people. We are archiving as if ecological collapse could be staved off through some digital Noah's Ark of beasts and objects.

 
汽車操控手冊

VO

VO

G
尼可拉斯.古羅Nicolas GOURAULT

An accident between a self-driving car and a pedestrian sets off an investigation about driverless cars. Testimonies from vehicle operators guide us through a night shift where the landscape merges with data from the car's sensors.

 
 

國家影視聽中心大影格

P

威廉.肯特里奇短片集#2

2:20pm - 3:35pm
G

威廉.肯特里奇短片集#1:素描投影

4:20pm - 5:42pm
G

比紀錄片還陌生#2

6:50pm - 8:07pm
影子隊列

Shadow Procession

Shadow Procession

G
威廉.肯特里奇William KENTRIDGE

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.   In Shadow Procession, turning all manner of people into moving shadows is seemingly an homage to shadow play, but also showcases his understanding of light and shadow in reality. References to film are more pronounced and profound in Journey to the Moon, which combines animation and live-action, creates the cosmos in a studio, and converses with the magical illusions created by Georges MÉLIÈS. On the other hand, Second-hand Reading, Tango for Page Turning, Sonnets, Soft Dictionary and Sibyl are all part of KENTRIDGE’s iconic Flipbook films. He drew on old books, creating the most primitive of motion pictures through the flipping pages. He has also shown that, compared to philosophers who rely on language systems, artists are more willing to use images in the pauses and blank spaces between the words and lines to directly demonstrate their understanding of the world. As for Carnets d’Egypte, it comes from a project conceived especially for the Louvre. Through this work, his versatility in theatre offers a visual translation of ancient Egyptian culture in contemporary language.

 
十四行詩

Sonnets

Sonnets

G
威廉.肯特里奇William KENTRIDGE

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.   In Shadow Procession, turning all manner of people into moving shadows is seemingly an homage to shadow play, but also showcases his understanding of light and shadow in reality. References to film are more pronounced and profound in Journey to the Moon, which combines animation and live-action, creates the cosmos in a studio, and converses with the magical illusions created by Georges MÉLIÈS. On the other hand, Second-hand Reading, Tango for Page Turning, Sonnets, Soft Dictionary and Sibyl are all part of KENTRIDGE’s iconic Flipbook films. He drew on old books, creating the most primitive of motion pictures through the flipping pages. He has also shown that, compared to philosophers who rely on language systems, artists are more willing to use images in the pauses and blank spaces between the words and lines to directly demonstrate their understanding of the world. As for Carnets d’Egypte, it comes from a project conceived especially for the Louvre. Through this work, his versatility in theatre offers a visual translation of ancient Egyptian culture in contemporary language.

 
翻頁的探戈

Tango for Page Turning

Tango for Page Turning

G
威廉.肯特里奇William KENTRIDGE

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.   In Shadow Procession, turning all manner of people into moving shadows is seemingly an homage to shadow play, but also showcases his understanding of light and shadow in reality. References to film are more pronounced and profound in Journey to the Moon, which combines animation and live-action, creates the cosmos in a studio, and converses with the magical illusions created by Georges MÉLIÈS. On the other hand, Second-hand Reading, Tango for Page Turning, Sonnets, Soft Dictionary and Sibyl are all part of KENTRIDGE’s iconic Flipbook films. He drew on old books, creating the most primitive of motion pictures through the flipping pages. He has also shown that, compared to philosophers who rely on language systems, artists are more willing to use images in the pauses and blank spaces between the words and lines to directly demonstrate their understanding of the world. As for Carnets d’Egypte, it comes from a project conceived especially for the Louvre. Through this work, his versatility in theatre offers a visual translation of ancient Egyptian culture in contemporary language.

 
埃及筆記本

Carnets d'Egypte

Carnets d'Egypte

G
威廉.肯特里奇William KENTRIDGE

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.   In Shadow Procession, turning all manner of people into moving shadows is seemingly an homage to shadow play, but also showcases his understanding of light and shadow in reality. References to film are more pronounced and profound in Journey to the Moon, which combines animation and live-action, creates the cosmos in a studio, and converses with the magical illusions created by Georges MÉLIÈS. On the other hand, Second-hand Reading, Tango for Page Turning, Sonnets, Soft Dictionary and Sibyl are all part of KENTRIDGE’s iconic Flipbook films. He drew on old books, creating the most primitive of motion pictures through the flipping pages. He has also shown that, compared to philosophers who rely on language systems, artists are more willing to use images in the pauses and blank spaces between the words and lines to directly demonstrate their understanding of the world. As for Carnets d’Egypte, it comes from a project conceived especially for the Louvre. Through this work, his versatility in theatre offers a visual translation of ancient Egyptian culture in contemporary language.

 
二手閱讀

Second-hand Reading

Second-hand Reading

G
威廉.肯特里奇William KENTRIDGE

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.   In Shadow Procession, turning all manner of people into moving shadows is seemingly an homage to shadow play, but also showcases his understanding of light and shadow in reality. References to film are more pronounced and profound in Journey to the Moon, which combines animation and live-action, creates the cosmos in a studio, and converses with the magical illusions created by Georges MÉLIÈS. On the other hand, Second-hand Reading, Tango for Page Turning, Sonnets, Soft Dictionary and Sibyl are all part of KENTRIDGE’s iconic Flipbook films. He drew on old books, creating the most primitive of motion pictures through the flipping pages. He has also shown that, compared to philosophers who rely on language systems, artists are more willing to use images in the pauses and blank spaces between the words and lines to directly demonstrate their understanding of the world. As for Carnets d’Egypte, it comes from a project conceived especially for the Louvre. Through this work, his versatility in theatre offers a visual translation of ancient Egyptian culture in contemporary language.

 
軟字典

Soft Dictionary

Soft Dictionary

G
威廉.肯特里奇William KENTRIDGE

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.   In Shadow Procession, turning all manner of people into moving shadows is seemingly an homage to shadow play, but also showcases his understanding of light and shadow in reality. References to film are more pronounced and profound in Journey to the Moon, which combines animation and live-action, creates the cosmos in a studio, and converses with the magical illusions created by Georges MÉLIÈS. On the other hand, Second-hand Reading, Tango for Page Turning, Sonnets, Soft Dictionary and Sibyl are all part of KENTRIDGE’s iconic Flipbook films. He drew on old books, creating the most primitive of motion pictures through the flipping pages. He has also shown that, compared to philosophers who rely on language systems, artists are more willing to use images in the pauses and blank spaces between the words and lines to directly demonstrate their understanding of the world. As for Carnets d’Egypte, it comes from a project conceived especially for the Louvre. Through this work, his versatility in theatre offers a visual translation of ancient Egyptian culture in contemporary language.

 
女先知

Sibyl

Sibyl

G
威廉.肯特里奇William KENTRIDGE

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.   In Shadow Procession, turning all manner of people into moving shadows is seemingly an homage to shadow play, but also showcases his understanding of light and shadow in reality. References to film are more pronounced and profound in Journey to the Moon, which combines animation and live-action, creates the cosmos in a studio, and converses with the magical illusions created by Georges MÉLIÈS. On the other hand, Second-hand Reading, Tango for Page Turning, Sonnets, Soft Dictionary and Sibyl are all part of KENTRIDGE’s iconic Flipbook films. He drew on old books, creating the most primitive of motion pictures through the flipping pages. He has also shown that, compared to philosophers who rely on language systems, artists are more willing to use images in the pauses and blank spaces between the words and lines to directly demonstrate their understanding of the world. As for Carnets d’Egypte, it comes from a project conceived especially for the Louvre. Through this work, his versatility in theatre offers a visual translation of ancient Egyptian culture in contemporary language.

 
月球之旅

Journey to the Moon

Journey to the Moon

P
威廉.肯特里奇William KENTRIDGE

In KENTRIDGE’s cross-disciplinary, cross-media world of artistic creation, images are not merely background supporting characters for theatre or installations, but are seen as an important intermediary to understanding the world. Taking Plato’s ‘Allegory of the Cave’ as an example, he feels that the prisoners in the cave believed the shadows on the wall represented reality not because they were controlled by hallucinations, but because silhouettes projected onto walls by firelight were the beginning of mankind’s understanding of the meaning of the world.   In Shadow Procession, turning all manner of people into moving shadows is seemingly an homage to shadow play, but also showcases his understanding of light and shadow in reality. References to film are more pronounced and profound in Journey to the Moon, which combines animation and live-action, creates the cosmos in a studio, and converses with the magical illusions created by Georges MÉLIÈS. On the other hand, Second-hand Reading, Tango for Page Turning, Sonnets, Soft Dictionary and Sibyl are all part of KENTRIDGE’s iconic Flipbook films. He drew on old books, creating the most primitive of motion pictures through the flipping pages. He has also shown that, compared to philosophers who rely on language systems, artists are more willing to use images in the pauses and blank spaces between the words and lines to directly demonstrate their understanding of the world. As for Carnets d’Egypte, it comes from a project conceived especially for the Louvre. Through this work, his versatility in theatre offers a visual translation of ancient Egyptian culture in contemporary language.

 
約翰尼斯堡,僅次於巴黎之最偉大的城市

Johannesburg: 2nd Greatest City after Paris

Johannesburg: 2nd Greatest City after Paris

P
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
紀念碑

Monument

Monument

G
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
礦場

Mine

Mine

P
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
清醒、肥胖與年長

Sobriety, Obesity and Growing Old

Sobriety, Obesity and Growing Old

G
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
放逐的菲利克斯

Felix in Exile

Felix in Exile

P
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
控訴的歷史

History of the Main Complaint

History of the Main Complaint

G
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
重量與慾望

Weighing... and Wanting

Weighing... and Wanting

G
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
立體鏡

Stereoscope

Stereoscope

G
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
潮汐表

Tide Table

Tide Table

G
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
別的臉

Other Faces

Other Faces

G
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
城市之深

City Deep

City Deep

G
威廉.肯特里奇William KENTRIDGE

‘The films of Soho Eckstein and Felix Teitlebaum were all made with the principle of NO SCRIPT, NO STORYBOARD. The making of each film was the discovery of what each film was. A first image, phrase or idea would justify itself in the unfolding of images, connections, and ideas spawned by the work as it progressed. The imperfect erasures of the successive stages of each drawing become a record of the progress of an idea, and a record of the passage of time. The smudges of erasure thicken time in the film, but are also a record of the days and months spent making the film, a record of thinking in slow motion.’—— William KENTRIDGE, excerpt from Rosenthal, Mark (ed), William Kentridge: Five Themes, San Francisco Museum of Modern Art, Norton Museum of Art, Yale University Press: New Haven and London, 2009.

 
公轉休眠(還在自轉)

off (I don't know when to stop)

off (I don't know when to stop)

G
徐璐Erica SHEU

Day after day, sunset light travels through the kitchen. Lamps carry on when the sky gets dark. The frame finds its balance. Life in work and work in life.

 
約翰凱吉的姓氏

The Last Name of John Cage

The Last Name of John Cage

G
瑪戈.吉瑪Margaux GUILLEMARD

With only 4 minutes and 33 seconds, how much can one imagine and feel? The Last Name of John Cage acts as a dialogue between the silence of the first lockdown and a loud inner tension.

 
你在那裡說了什麼?

What is it that you said?

What is it that you said?

G
池添俊IKEZOE Shun

Filmed during the pandemic time, the film tracks the quiet movement of light and time, marking the progress of a year of small movements and intimate, imperfect exchanges.

 
以微物之名

In the Name of Small Things

In the Name of Small Things

G
珍.德納特Jen TARNATE

A cross between space transmission and prayer, an unknown being reached out into the void, asking what it means to be here, and to be vulnerably human and alien to our own existence all at once.

 
earthearthearth

G
Daïchi Saïto

Director SAÏTO coaxes complex shapes and patterns from the natural environment, with skies rendered in electric hues. Scored by experimental musician Jason SHARP, the result is a hypnotic, sensory meditation on our earth.

 
 

國家影視聽中心小影格

G

從汝浮波瀾:台灣女性實驗電影切片

1:30pm - 2:46pm
G

The Island at the End of the World

4:30pm - 6:17pm
G

We Are Zama Zama

7:10pm - 8:24pm
流

Flow

Flow

G
曾莉珺Lichun TSENG

What if everything is in a flow, what is the meaning of life derived from its sense of interconnectedness? The film observes the flow of change and rhythms of breathing through abstract moving images. A poetic state of meditative process slowly comes into being.

 
臨摹(另一種版本)

Transcript (the other version)

Transcript (the other version)

G
徐璐Erica SHEU

Immersing in the tension within the family of origin, one follows the rrumination in the meditation on intimacy.

 
慾見

The Window of Desire

The Window of Desire

G
黃靖閔Kassey C.M. HUANG

A little ballerina begins to explore her body. Two teenage girls have their first intimate experience. Following the flow of thoughts in one’s creative process, a journey into the past reveals the protagonist’s desires experienced at various ages.

 
藥膜連結

Emulsion Connection

Emulsion Connection

G
許岑竹HSU Tsen-chu

Emulsion Connection connects photochemical and digital format, as well as the filmmaker’s carefree student life abroad and her returning to hometown. The time difference between each frame can be 1/18 second, 1/24 second, or 1 week, or even a decade.

 
Sucker’s Love

Sucker’s Love

Sucker’s Love

G
趙中慧Doll CHAO

Through magnifying scanned photos and juxtaposing old photos with the new ones, the film attempts to reexamine family photos as a way of rejecting the harmonic tone rooted in family portraits, while the moving film perforation becomes the train windows in the travel of time.

 
財縫

Transactions

Transactions

G
陳瀅如CHEN Yin-ju

Here a mother works tirelessly for rich clients so she can afford to send her daughter to school in the United States. The making of a piece of clothing is filmed in detail while we listen to a phone conversation that covers the topic of credit card expenses.

 
島嶼舊式

The Islands

The Islands

G
謝宣光HSIEH Hsuan-kuang

An experimental documentary consists of 35mm film photographs of three islands: Inishmore, Staten Island and Tsushima Island. By rearranging and re-filming the photographs and objects, the island is no more a mere geographical expression but a state of mind.

 
入世

How Old Are You? How Old Were You?

How Old Are You? How Old Were You?

G
劉行欣LIU Hsing-hsin

Using camera obscura techniques, the film contemplates the idea of bringing oneself back to the origin, the womb. As the film traverses through a series of psychological events, a dialogue is conducted between two selves – infant and adult.

 
世界盡頭之島

The Island at the End of the World

The Island at the End of the World

G
拉亞.馬丁Raya MARTIN

With an eye to both landscape and history, the film tracks MARTIN's inquiry into the rural community of Itbayat, one of the farthest-flung islands in the Philippine archipelago. Made during MARTIN's last year in film school, the result is an extraordinarily intimate, naturalistic diary-documentary that never lags behind, or runs ahead of, its viewers. #Unruly Geographies

 

We Are Zama Zama

We Are Zama Zama

G
羅薩琳德.莫里斯Rosalind MORRIS

Rosalind MORRIS weaves a transfixing narrative about the lives of migrants whose flight from neighbouring Zimbabwe has led them to seek gold in the ruins. In harrowing POV footage shot by the miners, we follow three men into the underground where they spend days, seeking gold and friendship while fearing accident and violence.

 
 

京站威秀十廳

G

Epicentro

1:00pm - 2:48pm
G

Storm Children, Book One

3:30pm - 5:53pm
G

All Light, Everywhere

6:30pm - 8:19pm
P

The First 54 Years – An Abbreviated Manual for Military Occupation

9:00pm - 10:50pm

Epicentro

Epicentro

G
雨貝.梭裴Hubert SAUPER

An immersive and metaphorical portrait of post-colonial, ‘utopian’ Cuba, and its resilient people a century after the explosion of the USS Maine in Havana, the event that ushered in the American Empire alongside a modern form of world conquest: cinema as propaganda. In Epicentro, SAUPER explores a century of interventionism and myth-making together with the extraordinary people of Havana to interrogate time, imperialism and cinema itself.

 
颶風之子,第一章

Storm Children, Book One

Storm Children, Book One

G
拉夫.迪亞茲Lav DIAZ

The Philippines is the most storm-battered country in the world. In 2013 Typhoon Yolanda, considered the strongest storm in history, struck the Philippines, leaving in its path apocalyptic devastation. A few months later, Lav DIAZ visited Tacloban Island to film children's lives in the aftermath. #Difficult Observation

 

All Light, Everywhere

All Light, Everywhere

G
席歐.安東尼Theo ANTHONY

An exploration of the shared histories of cameras, weapons, policing and justice. As surveillance technologies become a fixture in everyday life, the film interrogates the complexity of an objective point of view, probing the biases inherent in both human perception and the lens.

 

The First 54 Years – An Abbreviated Manual for Military Occupation

The First 54 Years – An Abbreviated Manual for Military Occupation

P
艾維.莫葛洛比Avi MOGRABI

What is the meaning of a military occupation? Through the testimonies of the soldiers who implemented it, director Avi MOGRABI explains the functioning, logic and practices of a colonialist occupation. He uses the 54 years of Israeli occupation in the Palestinian territories of the West Bank and the Gaza Strip as the basis for a ‘Short Manual of a Military Occupation’.

 
 

05/14

華山光點一廳

TimeProgrammeVenue / InfoAdd to My Schedule
13:10Letter to San Zaw Htway
Irradiated
購票去
15:50Mother Dao, the Turtlelike購票去
18:00記錄X記憶#1
Still on My Mind
I'm Trying to Remember
A Pigeon's Song
Letter to Jane
映後座談購票去
20:50There Will Be No More Night購票去

華山光點二廳

TimeProgrammeVenue / InfoAdd to My Schedule
13:40Eternity
Independencia
購票去
16:00No Desire to Hide購票去
18:10記錄X記憶#2
A Short History
Dragooned
Cause of Death
映後座談購票去
20:30比紀錄片還陌生#3
Chronicle of Nowhere
Tracing Utopia
Our Ark
VO
映後座談購票去

國家影視聽中心小影格

TimeProgrammeVenue / InfoAdd to My Schedule
13:30從汝浮波瀾:台灣女性實驗電影切片
Flow
Transcript (the other version)
The Window of Desire
Emulsion Connection
Sucker’s Love
Transactions
The Islands
How Old Are You? How Old Were You?
映後座談購票去
16:30The Island at the End of the World購票去
19:10We Are Zama Zama購票去

京站威秀十廳

TimeProgrammeVenue / InfoAdd to My Schedule
13:00Epicentro購票去
15:30Storm Children, Book One購票去
18:30All Light, Everywhere購票去
21:00The First 54 Years – An Abbreviated Manual for Military Occupation購票去

05/15

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華山光點一廳

G

Silence in the Dust

10:30am - 12:05am
G

Why Is Yellow the Middle of the Rainbow?

1:00pm - 3:50pm
P

Taste of Wild Tomato

6:40pm - 8:43pm

Silence in the Dust

Silence in the Dust

G
李維LI Wei

More than twenty years ago, Dazhang along with his three brothers came to Guangdong to work in a local quartz powder factory. However, a few years later, Dazhang was diagnosed with advanced staged pneumoconiosis. Returning to his hometown, the pneumoconiosis was gradually killing him every single day. The entire family was stuck in this seemingly endless suffering, while his children were still confused about what happened to their father.

 
為什麼彩虹的中間是黃色

Why Is Yellow the Middle of the Rainbow?

Why Is Yellow the Middle of the Rainbow?

G
奇拉.塔西米克Kidlat TAHIMIK

TAHIMIK's magnum opus is an epic film diary spanning the 1980s, as the filmmaker teamed up with his eldest son to make their own 'spaghetti western' with their 'spaghetti machine'. The decade-long path of the film moves seamlessly from the personal to the political as TAHIMIK's camera documents the events leading from the assassination of Benigno AQUINO to the fall of the Marcoses, all shown through a 'third world projector' salvaged from a junk pile on Navajo land. #The Personal Is Political

 

Taste of Wild Tomato

Taste of Wild Tomato

P
廖克發LAU Kek-huat

Kaohsiung served as an important military base under Japanese colonial rule and had incurred heavy casualties during the 228 Incident. The film subtly tends to the deep scars of the witnesses, survivors and their descendants as an act of resistance to oblivion. Memories survive through different eras of oppression and continue to live in people’s hearts, just like the wild tomatoes grown in this land.

 
 

華山光點二廳

G

War Is a Tender Thing

10:30am - 11:41am
P

Bontoc Eulogy / To Pick a Flower / The Retrochronological Transfer of Information

12:30am - 1:56pm
G

記錄X記憶#3

3:30pm - 5:06pm
戰爭是件溫柔事

War Is a Tender Thing

War Is a Tender Thing

G
阿嘉妮・阿盧帕克Adjani ARUMPAC

Through her own family's memories of struggle, Adjani unravels the story of the war-torn Southern Philippines as an endless attempt at survival and adaptation to state policies that disregard the most basic concept of home. However imperfect and partial, these memories make up a narrative of the war that is as cogent as the factual telling. #The Personal Is Political

 
邦塔頌歌

Bontoc Eulogy

Bontoc Eulogy

G
馬龍.芬堤斯Marlon FUENTES

As a personal story about the Filipino experience at the St. Louis World's Fair of 1904, the film unfolds from the perspective of two characters—a Filipino immigrant in America and an lgorot warrior held captive at the Fair. The film dramatically exposes the seminal contours of ethnic identity and experience in America, providing an innovative investigation of history, memory and the spectacle of the 'other' in turn-of-the-century America. #Colonial Narratives

 
摘取一朵花

To Pick a Flower

To Pick a Flower

P
希林.施諾Shireen SENO

A video essay explores the transformation and commodification of nature through archival photographs from the American colonial occupation of the Philippines in the first half of the 20th century. These images testify to what the voiceover calls 'the sticky relationship between humans and nature and their entanglements with empire', in the light of the concurrent processes of preservation, transmutation, and destruction. #Colonial Narratives

 
論反時序資訊傳輸

The Retrochronological Transfer of Information

The Retrochronological Transfer of Information

P
泰德.埃米塔諾Tad ERMITAÑO

Inspired by the works of the physicist Subrahmanyan CHANDRASEKHAR and the psychologist Carl JUNG, this 16mm film documents and embodies a modern-day scientist's attempt to communicate with José RIZAL, the Philippine National Hero, who was executed by the Spanish colonial government in 1896. #Colonial Narratives  

 
文明繪語

Apiyemiyekî?

Apiyemiyekî?

G
安娜.瓦茲Ana VAZ

An archive of drawings made by the Waimiri-Atroari during their first literacy experience built a collective visual memory from their learning process, perspective and territory, while attesting to a series of violent attacks taking place during the Military Dictatorship.

 
直到海裡長出森林

When the Sea Sends Forth a Forest

When the Sea Sends Forth a Forest

G
劉廣隸LIU Guangli

Images simulated in real time by a graphics engine are interwoven with fragments of archival footage, while telling the story of a Chinese survivor of the Khmer Rouge and reflecting upon how traumatic historical events continue to reshape our present in virtue of today’s narration.

 
後現代韓國

Post Modern Korea

Post Modern Korea

G
李泰雄LEE Taewoong

In the early 1990s, South Korea started regaining confidence in itself. ‘We hosted one of the most successful Olympic games ever. We are rich enough. Nobody can look down on us now. We are finally SOMEBODY.’ But there was one problem. Korea’s past history, especially in relation to Japan, is something many Koreans wish to forget and erase from the history books if possible. How could Koreans straighten their ‘distorted’ history?

 
 

國家影視聽中心大影格

G

Weiyena - The Long March Home

3:10pm - 4:46pm
G

The Song of the Moon

6:00pm - 7:42pm

Weiyena - The Long March Home

Weiyena - The Long March Home

G
趙維納, 朱迪思.本尼迪克Weina ZHAO, Judith BENEDIKT

Two family histories, one century and two metropolises merge in one person: Weina ZHAO, whose parents called her 'Vienna' – Wéiyěnà – because they emigrated to Austria. Her journey into the history of China leads to the Japanese Occupation and the Cultural Revolution, while tackling the great issues of the 21st century: migration, identity and the search for one's past.

 
月影歸途

The Song of the Moon

The Song of the Moon

G
許煌Juan Martín HSU

Haunted by the tragic death of his father, a young Argentinian filmmaker of Taiwanese origin returns to Taipei to film the reunion with his mother. Reality and fiction blend in a moving personal quest in which an incredible portrait of a mother stands out from the picture of a family saga marked by uprooting.

 
 

國家影視聽中心小影格

P

Nailed / Naglipana ang mga Mata (A Swarm of Eyes)

1:20pm - 2:36pm
G

Shattered Dreams

3:30pm - 5:10pm
G

菲律賓短輯#3:電影工作者福利基金會 Mowelfund(80s-90s)與叔叔阿姨電影社(10s-20s)

6:40pm - 7:42pm
釘牢信仰

Nailed

Nailed

G
安琪.維拉斯科.蕭Angel Velasco SHAW

Questions about 'faith' are raised in relation to Catholicism and 400 years of colonialism in the Pacific region. Inspired by Lucy REYES, a woman who has been re-enacting the Crucifixion for 21 years by being nailed to a cross, this film looks at the implications of worship, national, cultural and personal identity with a poetically woven montage of images, sounds, stories and performances. #Social and the Spiritual

 
來聽鄉野奇談

Naglipana ang mga Mata (A Swarm of Eyes)

Naglipana ang mga Mata (A Swarm of Eyes)

P
潔兒.曼多薩Jael MENDOZA

Shot using mobile phone and consumer-grade camera, A Swarm of Eyes explores familial history through the village's myths and old women's narratives of their dreams and anxieties. #Social and the Spiritual

 
離鄉背井去打工

Shattered Dreams

Shattered Dreams

G
李道明LEE Daw-ming

In the face of the sudden closure of the electronic factory, the three Thai migrant workers’ dreams of earning money to support their families were totally shattered. Would they give up their hopes due to all these miseries they experienced in Taiwan? This film offers an unexpected answer to this question.

 
殖民藥不要

Botika Bituka

Botika Bituka

G
西薩.賀南多Cesar HERNANDO

Focusing on popular Filipino tongue-twisting words 'botika' (drug or pharmaceutical store) and 'bituka' (intestine), the film visualises their correlation in social, economic, and political context. #Film Communities at Different Times

 
停火的鄉間

Ceasefire: Countrysides

Ceasefire: Countrysides

G
伊萊.蓋伊三世Eli GUIEB III

Repetitive camera movements are combined with protest songs to produce a strident political statement. #Film Communities at Different Times

 
科迪勒拉民族映像

Kordilyera Images

Kordilyera Images

G
古柏.羅沙伯Cooper RESABAL

Contrasting traditional songs and attire from the Cordillera region with the urban environment, the film highlights the effect of neo-colonialism on the culture of the Cordillera people. #Film Communities at Different Times

 
馬尼拉折影

Sa Maynila

Sa Maynila

G
麥可.阿卡查藍, 喬.阿堤扎, 維克.巴坎尼, 瑞基.歐蘭拉納, 亞倫.希拉瑞歐Mike ALCAZAREN, Jo ATIENZA, Vic BACANI, Ricky ORELLANA, Allan HILARIO

This black and white film presents an impressionistic portrait of a Philippine metropolis. #Film Communities at Different Times

 
齋節一日

Murang Araw

Murang Araw

G
葉耶.卡爾德龍Yeye CALDERON

A collage film that finds its meaning from interspersing Lenten rites footage with random images using an optical printer. #Film Communities at Different Times

 
殖民繪影

Ars Colonia

Ars Colonia

G
拉亞.馬丁Raya MARTIN

A conquistador counts his blessings in this hand-colored elegy evoking silent film iconography. #Film Communities at Different Times

 
菲律賓群島拳擊

Boxing in the Philippine Islands

Boxing in the Philippine Islands

G
拉亞.馬丁Raya MARTIN

Boxing is a national pastime in the Philippines. During the course of a match, the crime rate is non-existent. The fight projected in movie theatres becomes an extension of the spectacle. #Film Communities at Different Times

 
男孩的忘憂河

Study on Lukas in Lukas the Strange

Study on Lukas in Lukas the Strange

G
約翰.托雷斯John TORRES

Village miracles caught on tape: images of a river that must be crossed to erase heartaches, imagined with a boy who has never experienced sorrow. #Film Communities at Different Times

 
菲鳥遷徙觀察日誌

A child dies, a child plays, a woman is born, a woman dies, a bird arrives, a bird flies off

A child dies, a child plays, a woman is born, a woman dies, a bird arrives, a bird flies off

G
希林.施諾Shireen SENO

Conducting a series of studies on bird migration inspired by the migration experience of filmmaker's father, the film aims to deal with a sense of mobility in various forms and times. #Film Communities at Different Times

 
班級合照

Class Picture

Class Picture

G
叔叔阿姨電影社Tito & Tita

A lyrical, nostalgic piece evoking faded memories and the archetypal class picture, develops alongside the crashing of waves on a beach in the background. #Film Communities at Different Times

 
 

京站威秀十廳

PG-12

Children of the Mist

10:30am - 12:03am
G

The Burrows

12:50am - 2:31pm
G

A Night of Knowing Nothing

3:10pm - 4:47pm
P

Blue Island

5:30pm - 7:07pm
R

The Making of Crime Scenes / Danse Macabre

7:50pm - 9:20pm

Children of the Mist

Children of the Mist

PG-12
何黎艷HÀ LỆ Diễm

Di is a 12-year-old girl living in a village in the mist of Northwest Vietnamese mountains. She belongs to the Hmong ethnic minority where women get married very young, enduring the controversial tradition of 'bride-kidnapping'. When Di enters puberty, the carefree little girl has turned into an impetuous, hypersensitive teenager. On the Lunar New Year's Eve, when Di's parents come back home after celebrating, the house is silent and empty: Di has disappeared.

 

The Burrows

The Burrows

G
胡三壽HU Sanshou

In the town where the filmmaker was born, he and his family are following an age-old tradition by building a tomb for his grandparents. This carefully composed portrait of a village, interspersed with scenes of people at work, personal memories, and philosophical reflections, gradually unveils the spiritual world of the hometown and offers a meditation on existence itself.

 

A Night of Knowing Nothing

A Night of Knowing Nothing

G
帕亞爾.卡帕迪亞Payal KAPADIA

L, a university student in India, writes letters to her estranged lover, while he is away. Through these letters, we get a glimpse into the drastic changes taking place around her. Merging reality with dreams, memories, fantasies and anxieties, an amorphous narrative unfolds.

 

Blue Island

Blue Island

P
陳梓桓CHAN Tze Woon

One risked rushing against raging waves to escape being involved in the Cultural Revolution; one resisted colonialism and was imprisoned due to participating in printing patriotic periodicals; one supported the students' demands for freedom, only to see their dreams and bodies crushed by tank treads. The past is presented in fictional scenes, with today's activists playing those of yesteryear, as their scarred memories and experiences become more tangled than ever.

 

The Making of Crime Scenes

The Making of Crime Scenes

G
許哲瑜HSU Che-yu

During the martial law period, a Taiwanese American writer Henry LIU was shot dead by assassin WU Dun. This case was later confirmed to be a political murder jointly committed by the Military Intelligence Bureau and United Bamboo Gang in Taiwan. After being released from prison, WU became a film producer and established a film company that produced ‘wuxia films’. In this film, the filmmaker revisited WU’s abandoned studio to restage the events with forensic scanning techniques.

 

Danse Macabre

Danse Macabre

R
敦斯卡.彭西迪佛拉高、帕薩拉溫.庫松邦Thunska PANSITTIVORAKUL, Phassarawin KULSOMBOON

'Danse Macabre' is a dance that explores deaths that are remembered and forgotten in history, including those of kings, citizens, and stateless people, on land that many kings chose as their vacation residence. People's deaths are as different as the social class they belong to, in a country where social inequality strongly persists.IIn Thailand, many deaths were suspicious in nature over the past 90 years, but nobody dared to question them.

 
 

05/15

華山光點一廳

TimeProgrammeVenue / InfoAdd to My Schedule
10:30Silence in the Dust購票去
13:00Why Is Yellow the Middle of the Rainbow?映後座談購票去
18:40Taste of Wild Tomato購票去

華山光點二廳

TimeProgrammeVenue / InfoAdd to My Schedule
10:30War Is a Tender Thing購票去
12:30Bontoc Eulogy
To Pick a Flower
The Retrochronological Transfer of Information
映後座談購票去
15:30記錄X記憶#3
Apiyemiyekî?
When the Sea Sends Forth a Forest
Post Modern Korea
映後座談購票去

國家影視聽中心大影格

TimeProgrammeVenue / InfoAdd to My Schedule
15:10Weiyena - The Long March Home購票去
18:00The Song of the Moon映後座談購票去

國家影視聽中心小影格

TimeProgrammeVenue / InfoAdd to My Schedule
13:20Nailed
Naglipana ang mga Mata (A Swarm of Eyes)
購票去
15:30Shattered Dreams映後座談購票去
18:40菲律賓短輯#3:電影工作者福利基金會 Mowelfund(80s-90s)與叔叔阿姨電影社(10s-20s)
Botika Bituka
Ceasefire: Countrysides
Kordilyera Images
Sa Maynila
Murang Araw
Ars Colonia
Boxing in the Philippine Islands
Study on Lukas in Lukas the Strange
A child dies, a child plays, a woman is born, a woman dies, a bird arrives, a bird flies off
Class Picture
購票去

京站威秀十廳

TimeProgrammeVenue / InfoAdd to My Schedule
10:30Children of the Mist購票去
12:50The Burrows購票去
15:10A Night of Knowing Nothing購票去
17:30Blue Island購票去
19:50The Making of Crime Scenes
Danse Macabre
購票去