Lin Wan-yu

When Ah Yao returns to Malaysia for his father’s funeral, he expects grief, not chaos. But everything turns upside down when the religious police storm in, claiming his father—who secretly converted to Islam—must be buried in an Islamic cemetery. Refusing to let go, Ah Yao and his siblings set out on a wild, darkly comedic journey to reclaim the body, confronting cultural clashes, family secrets, and absurd obstacles along the way.

On the outskirts of Taipei, there is a leprosy sanatorium built by the Japanese occupiers in 1930 to seclude thousands of patients and maintain sanitary conditions on the land. For the last two decades, Taiwanese authorities have decided to turn the sanatorium into a museum to commemorate the history of leprosy medicine. However, the sanatorium has slowly been destroyed due to constant construction that has overwhelmed the remaining aged patients. To cope with this struggle, they protest and build landscape models with their gnarled hands representing their accurate memories and experiences. They continue to fight against the authorities’ efforts to erase the history of segregation and discrimination and have not given up.

Over the decades, the Malayan Communist Party fought a guerrilla war in the jungle for independence. When a baby was born during the war, they sent it out of the jungle to ensure its survival. Boluomi is one of those babies.

During World War II, Taiwan was part of the Japanese Empire. This documentary explores the experiences of Taiwanese soldiers, doctors, and overseas residents in Southeast Asia during that time. Using cross-generational memory dialogues, family letters, diaries, and videos, the film addresses the complexities of Taiwan's historical memory and diverse identities during that period.

In the table that symbolizes the value of traditional women, a woman who wants to break free from her family must face her daughter.

A young housewife’s mundane life is stirred when she suspects someone of gazing at her through her shower window.

A dazzling and unconventional documentary where a filmmaker explores their first experience of great loss after her best friends Chun and Yueh go missing. Trapped in a cave in Nepal for 47 days, Yueh survives. Chun does not. Yi-Shan offers an intimate window into the complex relationship of survivors as she traverses the intricate terrain of grief and gender with Yueh. Their conversations are steeped in themes of guilt, perseverance, and identity as they navigate Chun’s legacy with ease, even as elders around them fail to acknowledge their friend’s queerness/transness posthumously.

Huang Da-wang , an extravaganza from Taiwan sound/ performance art scene, is also known as Black Wolf or Yingfan-Psalmanazar. He has developed a distinctive style of improvisation and electronic noise, and has a unique performance - the "Black Wolf Nakashi" show. This film follows him in the city, from sound to body, from bedroom to ruins.

Ah-zhong is a non-upright walker, a theatre worker and a man of action. Walking forms the basis for his bodily training and is also one of his methods of expression. Through prolonged and repeated walks, interspersed with cigarette breaks, he enters into another world by imagining ‘Who am I?’, and with it comes the strength for living.

We stepped on Orchid Island (Lanyu) because of an ancient chant, which is the earliest sound of the Tao people recorded by Japanese scholar Kitasato Takeshi in the 1920s. Our filming journey, a 3-hour boat ride from the southeast coast of Taiwan, became a heartfelt exploration of the island's intersections between old and new, tradition and modernity.

The Qingshui Wetland in Jinshan is the best-known farming wetland along the north coast of Taiwain. Situated at the northmost tip of the country, it has become the first stop of the birds migrating south. This vibrant documentary embraces the beauty of eco-farming, and acknowledges the dedication of the locals to the land.

Lo-Sheng Sanatorium, Taiwan’s only isolated hospital for leprosy patients, has become home to patients living here for 60 years. With the construction of MRT, the government forced patients to move out, tearing Lo-Sheng down for economic benefits. In the face of authority, patients encourage each other in their daily life.