Schedule

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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.

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’ 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.

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.

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.

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.

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

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.

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.

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.

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

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

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

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

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

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

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

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

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

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 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.

‘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.

‘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.

‘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.

‘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.

‘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.

‘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.

‘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.

‘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.

‘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.

‘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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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

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.

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.

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.

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.

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.

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.

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.

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.

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 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.

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.

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' 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 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.

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.

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.

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.

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.

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?

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.

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.

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.  

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?

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.

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.

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.

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.

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.

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

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

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

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

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

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

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

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

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.

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.

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.

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.

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.

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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?

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

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.

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.

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.

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.

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'.

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.

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.

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.

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.

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.

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.

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.

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 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

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’ 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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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 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.

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.

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.

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.

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.

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.

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.

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 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.

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.

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

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.

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.

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.  

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?

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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

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.

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.

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

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)

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?

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.

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.

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.

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.

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'.

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 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 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.

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.

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' 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 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.

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.

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.

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.

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.

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

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.

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.

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.

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.

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.

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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.

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.