Schedule

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

Jazz in Love tells the story of Jazz, a young man from Davao, Philippines, whose dream wedding is within reach, his German boyfriend has proposed. Because no law allows him to get married in the Philippines, he must fly to Germany and tie the knot there. One of the things that stand in his way is his inability to speak Deutsch. Meanwhile, his parents remain completely unaware of the radical changes that his life is about to undergo. In a society where homosexual relationship is often seen as outside the norm and a taboo, this film aims to normalise its lightness with clear metaphorical cues of two men in love from opposite ends of the world.

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.

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.

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.

'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.

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.

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

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

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.

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.

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?

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.

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.

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.

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.

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.

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.

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.

'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.

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.

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.

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.

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.

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.

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.

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

Jazz in Love tells the story of Jazz, a young man from Davao, Philippines, whose dream wedding is within reach, his German boyfriend has proposed. Because no law allows him to get married in the Philippines, he must fly to Germany and tie the knot there. One of the things that stand in his way is his inability to speak Deutsch. Meanwhile, his parents remain completely unaware of the radical changes that his life is about to undergo. In a society where homosexual relationship is often seen as outside the norm and a taboo, this film aims to normalise its lightness with clear metaphorical cues of two men in love from opposite ends of the world.

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.

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.

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.