Acting
At a neighborhood recycling station in Taipei’s Da’an District, two volunteers with a father-and-son bond find their lives intertwined with visitors from all walks of life, transforming environmental work into a quiet journey of healing, connection, and rediscovered purpose.
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The son of a hospital director returns from abroad and reunites with his former lover at a welcome party. As a single mother and radio singer, she rekindles their romance, but his family forbids her from bringing her child into the marriage. Torn between love and maternal duty, she faces an impossible choice. This Taiwanese adaptation of the Japanese melodrama Flower in Storm reworks its romantic tale of class divide, shifting its focus to maternal sacrifice and female solidarity through a vibrant ensemble cast.
During the busy banana harvest, Phik-tsu’s collision with the newcomer Bing-to damages a harvest and forges a fateful connection. This catches the eye of Taipei businessman Liau Tsui-tsuann, who not only plots a smuggling operation but also covets Phik-tsu's beauty. On a company outing, Liau tries to get close to Phik-tsu, but a series of funny mishaps brings Bing-to and Phik-tsu closer instead. As a typhoon approaches, the plantation faces a new crisis. Will they find a way to be together?
The startling contrast between old and new Taiwan is the subject of Wan Jen's epic of traditional identities coming into conflict with an urban life, emphasizing the situation of women.
Ah Yee's grandfather and father were honorable men of the underworld, respected for settling neighborhood disputes — until enemies killed them on a rainy night. His widowed mother raised him alone from her noodle stall, always telling him: stay straight, never walk the gangster's road. In high school, Ah Yee is a model student and best friends with Wu Dawei, son of a general. When Dawei steals his father's gun after a fight with street thugs, Ah Yee takes the blame — and is treated like a criminal simply because he is "a gangster's son." Humiliated and crushed, he finds himself handcuffed to a mob boss on a prison van... and that night changes everything.
Joseph Kuo's final film.
A-Te used to be a social movement fanatic. But after suffering the pain of divorce and the death of his child, he changed his profession and became a taxi driver. Ma Le, a young aboriginal man, came to Taipei alone to earn a living on construction sites. However, unable to bear the exploitation, and in a rage, Ma Le accidentally killed a site superintendent and was sentenced to death. A-Te gave Ma Le a ride in his taxi on the night that Ma Le committed the killing and their two fates were thereafter intertwined.
This is a story located in a small town in Taiwan during the 50's and 60's. Mei-Hsia is from the most prominent family in town. Yun-Lang works in the local peasant assocation. They like each other, but Mei-Hsia is afraid to tell her mother about their seeing each other. They wait till Yun-Lang sends a matchmaker to Mei-Hsia's family. There was no way that Mei-Hsia's family would agree to their marriage. Mei-Hsia's parents send her to a relative in the northeast of Keelung, in an attempt to stop them from seeing each other, but Yun-Lang follows her there. Mei-Hsia's relative doesn't stop them until Mei-Hsia's mother finds out. Now their love is an open affair. This time, it's the Mei-Hsias turn to propose a marriage between the two families. To everyone's surprise, the Yun-Langs turn it down. Mei-Hsia and Yun-Lang planned to elope, but they failed. She kills herself. At last, Yun-Lang can call Mei-Hsia his wife by marring her memorial tablet.
On a stormy night, Wen-xin enters the Chen family mansion, rumored to be haunted by a woman in white. There he meets Hui-mei, whose face is identical to that of her late mother, Mei-lan, and becomes her music tutor. Director Tien Ching casts Chen Qiu-yan in both roles, allowing the same face to return across portrait, memory, and present time. Gothic motifs—rain, a shadowy house, and a buried family secret—shift the source of fear away from the supernatural and toward domestic hierarchy, superstition, and control over marriage.
