In contemporary Taiwan, the aboriginal Ah-ming attempts suicide. When his life is saved by an old miner, Ah-ming is drawn into a journey back to his origins. Meanwhile, the miner's son, Ah-Chuan, finds a fugitive hooker who has returned from the lowlands. But Ah-Chuan only wants to integrate himself into mainstream society, in sharp contrast to the intentions and needs of those around him.

The Man from Island West

During a sweltering summer day on a small island, messenger Qi finds the body of the team commander. Qi finds a grotesque style graffiti book in the commander's pant pocket. Afterwards, all the crazy situations depicted in the graffiti book invade Qi's life day by day. The death of the commander is closely related to another soldier, Yi San, who runs away with his gun and disappears. The dead commander's girlfriend Kang Hua immediately falls into the hands of the new commander...

Bodo

This documentary is about a group of people led by the anti-high artistic attitude of the underground culture of the end century during the Mid-Autumn Festival in 1995 for three consecutive days and two nights, supported by the unprecedented courage of the Taipei County Cultural Center; the planning is broken.

1995 Post-Industrial Art Festival

A young woman in an old town is looking for a place to stay. How does her gaze differ from the goddess's?

The Wind Within

As the director and the cameraman of a documentary project, Meng and Jianxian are travelling around Taiwan filming statues of religious and historical figures. Their conversations and debates on the statues often touch the political reality of Taiwan. Meng's girlfriend, Ning, is involved in a mediocre commercial feature film (initially as location scout and subsequently as an actress). Instead of realizing her ambition, she finds herself being exploited by the filmmakers. On the other hand, Meng and Ning's relationship is gradually faded.

Patlak Lastik

In this documentary by the writer Lin Shuangbu, the passionate and busy sports spirit is expressed in many short cuts. The free entry and exit of time and space is close to the expression style of the stream of consciousness, and he expresses his life background, social movement, literary philosophy and growth background concisely and neatly. Of course, the technique of screen transition and fade-in is also extremely smooth and vivid. There is a sense of reality of video reporting, and the revolutionary character of social movement in pursuit of truth is also hidden in the editing features.

Notes from Taiwanese Writers: Lin Shuangbu

[The name "Hong Yi" not only represents a local "art" style that has attracted much attention in Taiwan in recent years, but also allows us to witness from a life course that belongs to the "anomalous" features of contemporary society. ]

Hong Yi - Documenting Viewpoints

My work is an attempt to combine the relationship between historicism, commodity totem worship and political semantics. I do not intend to respond to questions about political correctness, but also try to show the unsolved issues of art itself. What I care about is how they find enough channels between history, reality and the public. In short, my creation is the crystallization of personal complexity. As long as the perception that can be obtained through the idea, it can be regarded as a style in the development of my personality. All the warriors related to experience may become artistic associations. They are the result of profound meaning and endless reproduction. There is a mysterious place. ---Dean-E Mei's self-report

Dean-E Mei: A Pungent Patriot

The artist Mucun’s interest is to collect antiques and old objects. He likes to hang out in flea markets and second-hand junk stalls to hunt for treasure. To him, the tens of thousands of old things piled up at home are just the epitome of people's life history and life memory. The film "Dream is not a residual image" reflects Mu Can's inner artistic ideal, a strong surreal style, and a high standard pointing out the "incomplete" aesthetics.

Dreams are not Afterimages

It came as a shock at the peak of her artist career, HSU Su-chen died of cancer. She went cross-disciplinarily in a short 14 years of her creative life. From early work such as “Self-Portrait” revealing multi layers of her own images to “Plant-Paradise” which collaborated with many people of different expertise lead her to the winning of Taishin Bank Arts Annual Award. HSU always walks out of the box to touch all of us from deep inside herself to ordinary plants as well as neglected communities in foreign countries. Every step of her attempts raised applause. This film assembles HSU’s talks and images of exhibitions of different locality spreading world wide including Vietnam, Micronesia, Australia and footages photographed by her personally at many places in Taiwan. It tells an extraordinary story and unseen visions of a distinct artist who endlessly discovers real issues of human life.