Chih-Yuan Hsu

As a couple with an age difference, Tong and Fang try to navigate their uncertain love relationship on a surfing trip, during which they face an unforeseen loss in life.

The director gets a phone call from his aged mother. A stubborn woman, she worries about the future of the rest of the family. The father is a gambling addict in poor health; the brother is penniless yet sure of his talent as a medium. Looking back at the reasons he left 20 years earlier, Elvis A-Liang Lu creates a wonderful family portrait, touching and full of light.

The sound of wings reverberates through the air. In the murky half-light, race pigeon 043 has finally returned after seven years. The family's barely-maintained peace after their son's missing is shattered by 043's return, as the daughter brings a street boy home. Things begin to change gradually, so do the people. In the aftershock of the storm, what course should the wounded follow?

Jiang brings Yang Yi around as they hang out together. In the last year of middle school, Jiang transfers. Yang remembers vividly the day before the summer break, when they share a memorable afternoon in the bright sun and heavy downpour.

"Two Funerals" is a film that focuses on portraits one individual, how does one's mind and values changes? How does social pressure affect him? Compared with the film about social issues, such a story reflects the intrinsic value of human beings.

A night-year-old kid's divorced parents are both having new families. He leaves his father's house in Taipei and goes on a road trip to seek shelter at his mother's B&B in Hualien but only finds out there's no such place for him to call home.

Stoic truck driver Jinpa picks up a silver dagger wearing hitchhiker in the desolate Kekexili plateau. The stranger suddenly reveals he’s going to kill the man who murdered his father.

Luo Hongwu returns to Kaili, the hometown from which he fled many years ago. He begins the search for the woman he loved and whom he has never been able to forget.

Hsu Zi-qi, who raises parrots in her apartment, keeps getting wrong phone calls for someone named Johnny. Lee, the autistic son of Zi-qi’s landlady, reads old newspapers every day and wanders around. Handyman Feng, who works odd jobs around the apartment, feels disheartened and frustrated when his beloved car breaks down. The lives of these three lonely souls cross over when one of Zi-qi’s parrots escapes one day. Johnny is missing, but he’s hardly the only one lost in the urban jungle of Taipei.

Anu is a tomboy. Although she was married off at a young age – as was customary in Taiwan in the 1970s – and had two children, she quickly divorced her violent husband and brought up her daughters alone. Since then her only relationships have been with women who, like her, earn a living as professional mourners at funerals. One of her daughters is filmmaker Hui-chen Huang. It’s considered taboo in Chinese culture to question a mother’s unconditional love, and yet this is exactly the topic of Huang’s intimate portrait. Mother and daughter set off on a journey together into the past during which Anu is confronted with questions that have tormented her daughter for years. In a series of long shots the two women discuss such topics as trust, abuse and cognisance, and yet most of these discussions end in painful silence. Shifting focus in order to plumb the depths of the depicted room, the director attempts to understand her mother by also talking to her mother’s siblings and ex-lovers.