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MORETaiwan Receives Spotlight at MIFC Lumière 2026: Digitally Restored Horror Masterpiece All in the Dim Cold Night Captivates International Distributors
Following the recent world premiere of Osmanthus Alley (1987) in its new 4K restoration and original Taiwanese-language soundtrack, representatives from the Taiwan Film and Audiovisual Institute (TFAI) officially took center stage on October 15 at the Marché International du Film Classique (MIFC) under the special spotlight "Taiwan in Focus,” sparing no effort to present Taiwan's rich and diverse film, television, and audiovisual heritage. Before the final screening of Osmanthus Alley, director CHEN Kun-hou gave an emotional speech in Taiwanese, expressing his gratitude to the international audience, and voiced his hope that they would listen closely to the elegant rhythm of Taiwanese-language dialogue he originally intended to present. This year, the MIFC placed Taiwan in the spotlight—the first non-European country to receive this honor—under the theme "Taiwan in Focus." The dedicated panel "Taiwanese Cinematic Heritage: Preserving the Past, Shaping the Future" presented TFAI's achievements in restoration, promotion, and distribution in recent years. As the year 2026 marks the 70th anniversary of Taiwanese-language cinema (“Taiyupian”), TFAI Chairman Arthur CHU emphasized that “Taiyupian” is what most clearly distinguishes Taiwanese cinema from Chinese cinema on the international stage: "Back then, Taiwanese-language films were independent productions made purely by local Taiwanese filmmakers in the Taiwanese language, without any official government subsidies. They are undoubtedly the audiovisual heritage that best represents Taiwan's autonomous cinematic identity—unique and belonging strictly to Taiwan!" The panel impressed attendees with its diversity and willingness to push boundaries, presenting historical research that brought archival collections to light, and sharing curatorial concepts that offered fresh interpretations of the past. At the networking reception following the panel, Taiwanese sweets were specially prepared and served, allowing the island’s charm to not only resonate through the silver screen, but also enchant the guests through a direct experience with its culinary culture. As the world's only international commercial market dedicated to classic films, the MIFC gathers distributors, film archives, and industry professionals from all over the world, aiming to foster cross-national and cross-domain collaborations to jointly promote and preserve the world’s shared film and audiovisual heritage. At the Re>Birth “Next” Programme, TFAI unveiled an exciting project to the international community: the digital restoration of All in the Dim Cold Night (1974), directed by YAO Feng-pan—the "King of Ghost Films"—is nearing completion. A short three-minute clip opened the eyes of classic film distributors worldwide, helping them better understand the collective memory of the horror genre that thrilled Taiwanese and Hong Kong audiences back in the day. Adapted from PU Song-ling’s classic collection of supernatural tales, Strange Stories from a Chinese Studio, YAO Feng-pan's All in the Dim Cold Night (1974) pioneered an entirely new style of horror filmmaking that created a sensation across Taiwan and Hong Kong. The crew burned rice straw to generate smoke, and placed the female ghost on a pushcart to create dolly movements. This inventive mastery of atmosphere-building made the film a critically acclaimed box-office hit, sparking a trend of period horror films such as The Blue Lamp in Winter Night (1975) and Ghost Under the Cold Moonlight (1975), and cementing YAO’s reputation as the "King of Ghost Films." At the market, international distributors were blown away by the trailer of YAO’s masterpiece, praising that in the 1970s, the West had The Exorcist (1973) from the United States, while the East had All in the Dim Cold Night from Taiwan. Even before restoration is complete, distributors from multiple regions have already come forward to inquire about distribution rights for the film. With the final market screening of Osmanthus Alley (1987), TFAI brought its participation at the Lumière Film Festival events to a successful conclusion. TFAI Chairman Arthur CHU stated: "We look forward to seeing Taiwan's film and audiovisual heritage reach even more audiences in the future, so that Taiwan's local charm can be even more known and celebrated around the world." ➤ The TFAI team took center stage on October 15 at the MIFC under the theme "Taiwan in Focus.” ➤ TFAI unveiled for the first time its latest digital restoration, director YAO Feng-pan’s All in the Dim Cold Night (1974). ➤ All in the Dim Cold Night (1974), adapted from the Qing dynasty novel Strange Stories from a Chinese Studio, pioneered an entirely new style of horror filmmaking, creating a sensation across Taiwan and Hong Kong. ➤ All in the Dim Cold Night (1974) cemented YAO Feng-pan’s reputation as the "King of Ghost Films." ➤ At the market, international distributors were blown away by the trailer of All in the Dim Cold Night (1987). ➤ The dedicated panel at the MIFC, themed "Taiwanese Cinematic Heritage: Preserving the Past, Shaping the Future," presented TFAI's achievements in restoration, promotion, and special screenings in recent years. ➤ TFAI Chairman Arthur CHU stated: "We look forward to seeing Taiwan's film and audiovisual heritage reach even more audiences in the future.” ➤ TFAI presented at the MIFC the annual event celebrating the 70th anniversary of Taiwanese-language cinema: “Taiyupian as World Cinema: 70 Years and Beyond.” The forum was moderated by Wafa GHERMANI, a scholar specializing in Taiwanese cinema and former Deputy Director of Collections and Promotion at the Cinémathèque Française. ➤ The TFAI team presents Taiwan's rich and diverse film, television, and audiovisual heritage ➤ Taiwanese sweets were specially prepared and served at the networking reception, allowing the island’s charm to not only resonate through the silver screen, but also enchant the attending guests through a direct experience with its culinary culture. -
MOREChen Kun-hou's Classic Osmanthus Alley Makes World Premiere at Lumière Festival in New 4K Restoration and Original Taiwanese Soundtrack
CHEN Kun-hou's Osmanthus Alley (1987), newly restored in 4K by the Taiwan Film and Audiovisual Institute (TFAI), was selected for the Lumière Classics section of this year's Lumière Film Festival in France and held its world premiere on the evening of October 12, local time. TFAI Chairman Arthur CHU, director CHEN Kun-hou, and the film's lead actress and Golden Horse Best Actress winner LU Hsiao-fen all arrived in Lyon on October 10, joining renowned international film figures including Joel and Ethan COEN, ZHANG Ziyi, TSUI Hark, and Todd HAYNES. Each year, the Lumière Classics section is dedicated to selecting the year's finest restorations of 20th-century films, paying tribute to film history while giving past classics the opportunity to be rediscovered and introduced to a new generation of audiences. This year, in addition to Osmanthus Alley making its international screen debut in its original Taiwanese-language version, the Marché International du Film Classique (MIFC) is presenting “Taiwan in Focus,” a special program highlighting the results of TFAI's longstanding efforts in the preservation, restoration, and international promotion of Taiwanese cinema. TFAI Chairman Arthur CHU, who also attended the event, further explained the journey of restoring the film, “Osmanthus Alley is one of the most meaningful restoration experiences we have had at TFAI with Taiwanese cinema, because it restored the original language that had once been stripped away. We are deeply grateful for the support of all copyright holders, which has finally made it possible to successfully restore the film to its original state.” TFAI’s restored films have already made their mark at Lumière on several occasions. In 2018, Lumière presented a retrospective of director King HU, bringing four of his most iconic wuxia films back to the big screen, including A Touch of Zen (1971), while director TSENG Chuang-hsiang's The Woman of Wrath (1984) was screened in 2024. With Osmanthus Alley now selected for Lumière Classics this year, TFAI looks forward to continuing to share more Taiwanese films with audiences around the world through screenings, international forums, industry exchanges, and a variety of other initiatives. Osmanthus Alley, adapted from HSIAO Li-hung's bestselling novel, delicately portrays the social landscape of early Taiwan, tracing the life experiences of women of the era. LU Hsiao-fen plays Ti-hong, a girl from a poor fishing village, whose lonely and troubled life seems predestined, evoking a profound sense of sorrow. CHEN Kun-hou has said that Osmanthus Alley is like a “childhood memory” to him, as the story's setting closely mirrors his own experiences growing up. Back then, CHEN insisted on shooting the film entirely in Taiwanese to authentically portray personal emotions and historical realities. However, the Central Motion Picture Corporation (CMPC), in line with the government's Mandarin-language policy at the time, required Osmanthus Alley to be released in Mandarin dubbing. In the end, the Taiwanese-language version received only a handful of screenings at four cinemas, something that pained the director for many years. Now, more than 30 years later, Osmanthus Alley has been presented to international audiences for the first time in a 4K digital restoration of its original Taiwanese-language version. Not only has this finally made up for CHEN Kun-hou's long-held regret and restored the unique rhythms and emotional nuances of the Taiwanese language, but it has also allowed this precious and deeply moving work of Taiwanese film heritage to take its place in world film history in its most original and authentic form. ➤ Taiwan Film and Audiovisual Institute (TFAI) recovered the original Taiwanese soundtrack to digitally restore Osmanthus Alley (1987), which held its world premiere at the Lumière Film Festival, a world-class realm for restored classics. (Courtesy of TFAI) ➤ TFAI Chairman Arthur CHU stated: Osmanthus Alley (1987) restored the original language that had once been stripped away, making it particularly meaningful. (Courtesy of TFAI) ➤ Director CHEN Kun-hou emotionally expressed: “Taiwanese-langauge is undoubtedly one of the main characters in Osmanthus Alley (1987).” (Courtesy of TFAI) ➤ Golden Horse Best Actress winner LU Hsiao-fen remarked: After 39 years, this “osmanthus flower” has bloomed once again—the older it gets, the sweeter its scent! (Courtesy of TFAI) ➤ The world premiere of the digitally restored Osmanthus Alley (1987) was packed to capacity! The audience responded with full enthusiasm when the filmmakers appeared. (Courtesy of TFAI) ➤ Thierry Frémaux, Director of the Lumière Film Festival, personally attended the world premiere of Osmanthus Alley (1987) and praised it highly: “This is a masterpiece of classic restoration from Taiwan, a great nation of cinema!” (Courtesy of TFAI) ➤ French audiences gave high praises to Osmanthus Alley (1987), a representative piece of Taiwanese restoration. (Courtesy of TFAI) ➤ Enthusiastic French audience members surrounded director CHEN Kun-hou after the screening of Osmanthus Alley (1987), asking for autographs and photos. (Courtesy of TFAI) ➤ The Taiwan Film and Audiovisual Institute (TFAI) and the creative team of Osmanthus Alley (1987) arrived at the Lumière Film Festival. From left: CHEN Hung-sing, Director of the Taiwan Cultural Center in France; Director Chen Kun-hou; Best Actress winner LU Hsiao-fen; and Arthur CHU, Chairman of TFAI. (Courtesy of TFAI) ➤ LU Hsiao-fen plays KAO Ti-hung in Osmanthus Alley (1987), a woman born in a poor fishing village whose lonely and troubled life evokes a profound sense of sorrow. (Courtesy of TFAI) ➤ Osmanthus Alley (1987) features a dream ensemble cast including LU Hsiao-fen (left) and Wakin CHAU (right). (Courtesy of TFAI) ➤ The original novel of Osmanthus Alley (1987) portrays the life of a wealthy family in early Taiwan. (Courtesy of TFAI) ➤ Director CHEN Kun-hou expressed that the film Osmanthus Alley (1987) feels "just like a childhood memory." (Courtesy of TFAI) -
MOREEdward Yang's Restored Classic The Terrorizers Thrills Audiences at Czech Special Screenings
Edward YANG's acclaimed classic The Terrorizers (1986), which earned the director his first Golden Horse Award for Best Narrative Feature, was screened on October 8 as the closing film of the special program “Under the Same Roof: The Taiwanese New Wave” in the Czech Republic. The film kept the entire audience riveted throughout the screening, with many expressing their admiration afterward: “Who would have thought that Taiwan was already making such mind-bending and captivating films 40 years ago!” Co-organized by Taiwan's Ministry of Culture, the Taiwan Film and Audiovisual Institute (TFAI), the Taipei Economic and Cultural Office in Prague (TECO), and the Czech Republic's Národní filmový archive (National Film Archive), “Under the Same Roof: The Taiwanese New Wave” ran from September 17 to October 8 in Prague, the Czech capital renowned as one of Europe's cultural and artistic centers. The program featured restored classics by Taiwan New Cinema masters such as Edward YANG, HOU Hsiao-hsien, and TSAI Ming-liang, whose distinctive visual styles, atmospheres, and subject matter treated Czech cinephiles to an eye-opening cinematic experience. The Terrorizers received an enthusiastic response from audiences at both of its program screenings. During the post-screening discussion, event curator David HAVAS praised the film for its postmodern, metafictional approach, and political allegories, describing it as one of his favorite Taiwanese films. TFAI Chairman Arthur CHU, who also attended the event, reminded the audience that The Terrorizers is a Taiwanese film made 40 years ago. With his incisive eye and bold, forward-thinking storytelling, Edward YANG broke away from conventional narrative formulas, casting a detached gaze on the social atmosphere of that time, which appeared alienated and indifferent on the surface yet was internally on the verge of collapse. A local audience member shared that watching The Terrorizers was just as fascinating as watching the mind-bending films that have become popular in recent years, expressing amazement that Taiwan could have produced such a masterpiece 40 years ago. In response, TFAI Chairman Arthur CHU remarked that the mind-bending nature of Edward YANG's films is by no means a product of pure imagination, but stems from his penetrating observations of Taiwanese society. Looking back today, his films seem more like urban prophecies. Many audience members expressed a desire to see more, hoping to have opportunities to watch the latest Taiwanese films in the future. Arthur CHU also emphasized that this event has laid a strong foundation for collaboration with the Czech National Film Archive. Moving forward, both sides will work even harder to bring both classic and contemporary Taiwanese films to Czech audiences. This year’s “Under the Same Roof” Taiwanese film program centered on the theme of “family,” with more than a year of planning and film selection involving close coordination between the Czech National Film Archive and TFAI. The final lineup featured restored classics exploring family-related themes, including Edward YANG's The Terrorizers (1986), HOU Hsiao-hsien's The Time to Live and the Time to Die (1985), TSAI Ming-liang's Rebels of the Neon God (1992) and The River (1997), and Teenage Fugitive (1984), directed by CHANG Pei-cheng and written by TSAI Ming-liang. Curator David HAVAS remarked: “The breakdown of family relationships and the severing of emotional bonds are actually quite common in Czech society. However, compared with Taiwanese cinema, Czech films perhaps have not explored these themes in such depth.” He added that “Under the Same Roof” takes family relationships and shared living arrangements as its starting point, while also reflecting broader changes in society and international affairs. The Terrorizers won Best Narrative Feature at the 23rd Golden Horse Awards. Its enigmatic screenplay, blurring the lines between reality and fiction, was highly unusual in Taiwanese film history and remains one of Edward YANG's signature mind-bending works. YANG once explained: “The most exciting aspect of The Terrorizers is WANG An's real-life experience of making prank calls. Since the story revolves around this, there must be a married couple and a mother. This is a logical development, like a puzzle game.” Taiwan New Cinema emerged against the backdrop of rapid social transformation in the 1980s, as filmmakers experimented with new narrative approaches and alternative cinematic language to portray emotions and everyday life more authentically. By bringing stories of family relationships, generational differences, and social change to the screen, the movement attracted international attention at the time. TFAI will continue its mission of digitally restoring classic Taiwanese films, with the hope that Taiwan‘s boundless creative energy and rich cultural heritage will bring a refreshing sense of discovery to contemporary international audiences. ➤ Edward YANG's acclaimed classic The Terrorizers (1986), which earned the director his first Golden Horse Award for Best Narrative Feature, was screened on October 8 as the closing film of the “Under the Same Roof: The Taiwanese New Wave” special program in the Czech Republic. (Courtesy of TFAI) ➤ The Terrorizers (1986) received an enthusiastic audience response at both of its special screenings during the “Under the Same Roof: The Taiwanese New Wave” program. TFAI Chairman Arthur CHU (right) attended the post-screening discussion. (© Zuzana Homolka Fedorová) ➤ Local Czech audiences expressed amazement that Taiwan could have produced a masterpiece like The Terrorizers (1986) 40 years ago. (© Zuzana Homolka Fedorová) ➤ Curator David HAVAS described The Terrorizers (1986) as one of his favorite Taiwanese films. (© Zuzana Homolka Fedorová) ➤ TFAI Chairman Arthur CHU remarked that The Terrorizers (1986), a Taiwanese film made 40 years ago, showcases director Edward YANG's incisive eye and forward-thinking storytelling. (Courtesy of TFAI) ➤ The Terrorizers (1986) won Best Narrative Feature at the 23rd Golden Horse Awards and remains one of Edward YANG's signature mind-bending works. (Courtesy of TFAI) -
MOREStep into a Real-life Taiwan Travelogue! TFAI Unveils the Earliest Vlog of a Round-Island Trip, Featuring Footage of Taiwan's Railways Under Japanese Rule
Set during the Japanese colonial era, Yang Shuangzi's International Booker Prize winning novel Taiwan Travelogue follows a culinary and railway journey across Taiwan to explore profound dialectics of Taiwan's colonial history. To mark the National Heritage Day, which falls on the third weekend of September this year, the Taiwan Film and Audiovisual Institute (TFAI) unveiled a series of videos titled “Taiwan's Railways During the Japanese Colonial Period” on its official YouTube channel. The historical context and themes explored in these videos perfectly echo those of Taiwan Travelogue, while offering a rare and fascinating glimpse into Taiwan's railways under Japanese rule. In line with its Open Access policy that aims to promote public access, TFAI has been gradually releasing precious audiovisual archives from its collection. To coincide with the National Heritage Day to promote Taiwan's tangible cultural heritage, this online video exhibition uses “trains” and “railways” as key themes to showcase documentary footage of Taiwan during the Japanese colonial era. The four black-and-white silent films, each less than ten minutes long, provide modern audiences with a lively picture of Taiwan's diverse landscapes and scenic spots, as well as the railway culture in the last century. Outside the Train Window (c. 1935, filmed by the Railway Department of the Governor-General of Taiwan) features the historic Da'an River Bridge in Taichung City and the Dajia Tunnel, which was then the only railway tunnel beneath a river in Taiwan. A Pleasant Journey (c. 1936, filmed by Taiwan Travel Club) captures two travelers waiting for their friend in front of Tainan Railway Station. This film follows their journey from having their tickets checked to boarding the train. It documents the historic scenes of the sleek C55-class steam locomotive, an engine driver tossing and catching the electronic token, and track workers using pickaxes to maintain the rails. Travel by Rail (c. 1937, photographer unknown) captures the Alishan Forest Railway boarding point, the long Zhuoshui River Railway Bridge, and the Xinying Sugar Factory on the vast Jianan Plain. The final segment “A Trip to the Beach” depicts the delight of travelers heading to a seaside resort by rail. Even through the screen, viewers can sense the excitement and joyful atmosphere inside the train cars. Scenic Taiwan (c. 1937, photographer unknown) even features a sequence in which members of the Railway Department’s Military Canine Association send military dogs to the front lines, reflecting the historical context of the Marco Polo Bridge Incident which had just erupted at the time of filming. These precious images are sure to delight not only history buffs and railway enthusiasts, but also dog lovers. Interspersed throughout the film are intertitles such as “racing along the coastline in the cool breeze,” “not forgetting the hardworking railway workers behind the scenes,” and “an idyllic day-trip destination,” vividly depicting the development of Taiwan’s railway system and this island nation’s charming tourist atmosphere. Issue 208 of the Film Appreciation Journal features a special project titled “Outside the Train Window—A Collection of Footage of Taiwan’s Railways During the Japanese Colonial Period,” inviting cultural and historical experts to analyze the historical context and social realities of the time through the footage and present their preliminary research findings. At that time, Taiwan was under Japanese colonial rule. As symbols of modernization, these railway films served not only to promote tourism, but also to showcase local produce and infrastructure, including new stations, routes, and train models, through the ever-changing scenery outside the train windows. Plus, they document the various tasks involved in maintaining railway operations. The colonial authorities’ propagandistic intentions were therefore evident. The opening of Travel by Rail also features two newsreel segments: the triumphant return of the Japanese reconnaissance aircraft “Kamikaze” (Divine Wind) at Taipei Airport and the swimming competition between Taiwan and the Philippines, highlighting Japan's industrial strength and diplomatic achievements at the time. Following last year's release of Formosa, the earliest documentary about Taiwan, TFAI has now released this series of videos about Taiwan's railways during the Japanese Colonial Period. Footage from ninety years ago continues to bring surprises. Du Li-chin, Executive Director of TFAI, stated, “Over the next five years, TFAI will carry out its public mission based on three core objectives—'Centering Taiwan,’ ‘Archiving Time,’ and ‘Accessing Memory’—with Open Access project as a concrete manifestation of this commitment. As we view these four railway films made between 1935 and 1937, we are required to confront the historical context in which they were made. By that time, Japan had already ruled Taiwan for forty years, and in 1935, the Taiwan Governor-General’s Office showcased the empire’s achievements of its colonial development and promotion through the Taiwan Exposition: In Commemoration of the First Forty Years of Colonial Rule. These railway films are by no means mere scenic records; rather, they are deeply imprinted with the imperial gaze of colonial power. Today, we are archiving and making this collection of footage available to the public precisely to encourage people to look beyond the rulers' gaze, see the political context behind it, and unearth the collective memory of the Taiwanese people, thereby reclaiming our own right to interpret history.” Believing that valuable historical discoveries can often come from the public, TFAI views the digitization of archives and the interpretation of information as merely the first step. We look forward to the public sharing and discussing these images after their release, uncovering more historical details and unexpected discoveries through contemporary perspectives. The YouTube List of Taiwan's Railways During the Japanese Colonial Period:https://tfaitw.pse.is/9m3xln Issue 208 of Film Appreciation Journal: https://tfaitw.pse.is/9m3xrn ➤ Pic1: An image from Outside the Train Window (c. 1935, filmed by the Railway Department of the Governor General of Taiwan), highlighting the progress of the railway system and the train speeding along the tracks. (Courtesy of TFAI) ➤ Pic 2: An image from Outside the Train Window (c. 1935, filmed by the Railway Department of the Governor General of Taiwan), featuring the historic Da’an River Bridge in Taichung City. (Courtesy of TFAI) ➤ Pic 3: An image from Travel by Rail (c. 1937, photographer unknown), showcasing the newsreel of the swimming competition between Taiwan and the Philippines. (Courtesy of TFAI) ➤ Pic 4: An image from Travel by Rail (c. 1937, photographer unknown), offering a glimpse of the travelers heading to the seaside resort by train. (Courtesy of TFAI) ➤ Pic 4: An image from Travel by Rail (c. 1937, photographer unknown), offering a glimpse of the travelers heading to the seaside resort by train. (Courtesy of TFAI) ➤ Pic 6: An image from A Pleasant Journey (c. 1936, filmed by Taiwan Travel Club), capturing two travelers waiting for their friend in front of Tainan Railway Station. (Courtesy of TFAI) ➤ Pic 7: An image from A Pleasant Journey (c. 1936, filmed by Taiwan Travel Club), showing an engine driver tossing and catching the electronic token. (Courtesy of TFAI) ➤ Pic 8: An image from A Pleasant Journey (c. 1936, filmed by Taiwan Travel Club), showing track workers using pickaxes to maintain the rails. (Courtesy of TFAI) ➤ Pic 9: An image from Scenic Taiwan (c. 1937, photographer unknown), showcasing members of the Railway Department’s Military Canine Association sending military dogs to the front lines. (Courtesy of TFAI) ➤ Pic 10: An image from Scenic Taiwan (c. 1937, photographer unknown) in which the appearance of a military dog reflects the historical context of the Marco Polo Bridge Incident that had just erupted at the time of filming. (Courtesy of TFAI) ➤Pic 11: Issue 208 of the Film Appreciation Journal features a special project titled “Outside the Train Window—A Collection of Footage of Taiwan’s Railways During the Japanese Colonial Period.” (Courtesy of TFAI) ➤ Pic 12: Issue 208 of the Film Appreciation Journal features a special project titled “Outside the Train Window—A Collection of Footage of Taiwan’s Railways During the Japanese Colonial Period,” inviting cultural and historical experts to analyze the historical footage. (Courtesy of TFAI)