Pearlly Chua

For 49 years, Ah Eng and Dou E were trapped in the "513" timeline. In 1969, post-election tensions gripped Kuala Lumpur when the Cantonese street opera "Snow in June" showcased Dou E, portrayed by the troupe master. Amid a riot, Ah Eng and her mother sought refuge with the troupe, losing contact with her brother and father. In 2018, Ah Eng returned to Kuala Lumpur and unexpectedly encountered "Dou E" at the cemetery.

1986, in a Malaysia-Thailand border village, a recently widowed Siamese woman still cooks her husband's favourite dish. After her son brings the husband's ancestral tablet home, the durian tree starts bearing its fruits while red spinach grows under the tree...

Iqbal and his mother have a special talent for seeing things that others cannot. Together with his father, who doesn’t share their sight, they work as exorcists until one day his mother meets a tragic end, saving Iqbal from an attack by a particularly malevolent spirit. With his mother gone, Iqbal’s father attempts to end the family’s suffering by binding his son’s abilities by using a mystic, but it only half works. When Iqbal and his friends inadvertently unleash a very nasty spirit in a fit of adolescent abandon, he learns that his abilities aren’t completely gone... but are they strong enough to save the people he loves from a fate worse than death?

Discovering a severed bird that is missing its body, Ah Ger decides to make a mock body for the poor creature and give it a proper burial. Her intentions prompt an unexpected visit by the ghost of her late grandmother appearing in the form of the dead bird, urging Ah Ger to help find and care for her egg. Her actions caused her to be terribly misunderstood and punished by her mother.

Cheong, a Chinese man, falls sick after a row with his neighbour. His wife Yan is desperately looking for a remedy to cure her husband. Throughout the journey, Yan endures strange encounters and unearthly experiences. Finally, Yan is convinced that she should seek help from the village shaman. Mysteries, legends and shamanism surround Yan with unknowns yet to be solved.

Zhang, a middle aged man struggling with a dead end job as an insurance sales person, on the verge of divorce with his wife, losing custody of her daughter, and on top of all this he has to take care of his father who is suffering from Alzheimer's. Unknowingly Zhang is invited to join an underground fighting game for financial purposes, but eventually Zhang becomes hooked on the fights and turns professional.

В 1990 году доктор Лам занимается исследованиями сна — зачем нужен сон, какие изменения происходят в мозгу, если долго не спать, и может ли человек и вовсе обходиться без сна. К доктору обращается бывшая возлюбленная, которая оставила его 10 лет назад, с просьбой вылечить брата от бессонницы. Оказывается, что семья девушки страдает наследственной болезнью — в определенный момент человек перестает спать, начинает мучаться галлюцинациями и в конце концов умирает.

When a rare earth plant is being built near a coastal town, its inhabitants fall into despair, fearful of its radioactive effects.

If It’s Not Now, Then When? mostly takes place in an apartment inhabited by three members of a family (though never at the same time): mother Pearlly Chua (from Tsai Ming-liang’s I Don’t Want to Sleep Alone), daughter Tan Bee Hung and young son Kenny Gan. Their father seems recently to have died. The mother leaves early and returns late, out on long walks in the park with a lover whom the daughter and her best friend try to spy on. The daughter pecks away at a computer at work and has a desultory affair with her married boss, which he carries on between his business and family phone calls. And the son breaks into cars and “recycles” the electronics he finds.

Mrs. Chew and her three daughters run a small but flourishing restaurant. Most of the customers come for the house specialty: Homemade Curry - cooked from an old family recipe. Nobody suspects that the special ingredient that turns Mrs Chew's curry from standard fare into a gourmet's delight is human flesh!

Ping Ping is 19 and wants to go to Japan to work in a car parts company. She's under the guardianship of her aunt, Madame Tien, who shuffles her between two jobs - working in a pig farm, and cleaning dishes in a rundown restaurant. Tien is also involved in a 'baby factory' scheme, pairing young women with migrant workers and then selling the babies for money. Both survive with each other in a love-hate symbiotic manner, until a truth about her aunt is revealed to Ping Ping.

Free interpretation of the myth. Tsai Ming-liang propels a woman neglected by her lover in the mob of the bus station of Kuala Lumpur.

To celebrate its 60th anniversary, the Cannes Film Festival invited around thirty filmmakers to create three-minute short films to compose the collective film Chacun son cinema. Tsai Ming-liang proposed a twinned piece with his feature Goodbye, Dragon Inn, an exploration of the movie theater as a public space and collective experience. Shortly after, Tsai put on this new version of the piece, twenty minutes longer, which was presented at the Venice Biennale.

На бездомного китайца Сяо-кан напали и ограбили. На помощь ему приходят рабочие из Бангладеш, которые берут его к себе домой. Один из рабочих ухаживает за ним и укладывает спать рядом с собой. Сяо -кан знакомится с официанткой Чи, и её охватывает страсть к юноше. Молодой человек не может выбрать между Раван и Чи, а также начальницей Чи. Попытка обрести возлюбленного и спать с ним вместе, гладить его тело и получать любовные ласки в ответ — вот то простое и человеческое, к чему с комическим упорством стремятся молчаливые герои…

Tsai interrupted his pre-production for The River to make this pioneering documentary for Taiwan's nascent AIDS-awareness campaign. Ignoring instructions to 'play down the gay angle', he centres the film on his own very candid conversations with two HIV+ young men. Sadly the identities of the interviewees have to be concealed, and so the freewheeling camerawork focuses most often on Tsai himself; but the sense of rapport between the director and his 'new friends' is palpable and very moving, even to Western viewers already only too familiar with these issues.