主題節目FEATURED PROGRAMS
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TFAI PicksMoreTheater of Wonders
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Main ProgramMoreFootprints of the Walker
"We don't know where he's from or where he's going." —— No Form "Their walking journeys are like a meditative prayer of heart and soul." —— Abiding Nowhere In 2011, director Tsai Ming-liang unveiled Only You, a stage play composed of three one-act monologues. Among them, The Fish of Lee Kang-sheng: The Journey in the Desert featured actor Lee Kang-sheng embodying Tsai's father, carrying a sack of flour and walking with excruciating slowness along a table—a journey that stretched a mere few steps into nearly 30 minutes. This deliberate pace, like a pebble rippling through still water, transfixed Tsai, inspiring him to translate its meditative essence into the language of cinema. Draped in a crimson monk's robe, Lee began his slow pilgrimage in Taipei, captured in No Form, the inaugural film of Tsai's Walker series. Over the 12 years from No Form to Abiding Nowhere, the Walker series meandered through eight cities, emerging as one of Tsai's most steadfast artistic endeavors. It stands as a sanctuary of simplicity amidst the cacophony of modern filmmaking, where Tsai abandoned the intricate machinery of the film industry and its narrative conventions. Since Stray Dogs (2013), Tsai has ventured beyond traditional cinema spaces, forging connections with art museums and exploring the interplay between white-box galleries and black-box theaters. The Walker series transcends boundaries, weaving itself into cinema, theater, and exhibitions. Each iteration of the walker's journey reimagines cinema as something more than just a medium—it becomes an act of presence. The marathon screening of all ten films from the Walker series promises an audacious experiment: a 10-hour overnight odyssey with Tsai himself present. Challenging conventional notions of cinematic viewing and invites audiences to experience film as an immersive meditation on time and being, this program are also complemented by two other works that highlight Tsai's collaborations with international institutes: Face (2009), commissioned by the Louvre, and Stray Dogs (2013), conceived for museum premieres and exhibitions. Tsai Ming-liang's Walker series exhibits a manifesto for rethinking cinema itself that offers both creator and audience to see anew, to feel deeply, and to glimpse an entirely new universe within each frame. -
Special FocusMoreThe Supreme Happiness in Documentary Films: Ogawa Shinsuke's Final Works
This program presents the final two solo masterpieces of Ogawa Shinsuke (1935-1992), completed before his passing: Nippon: Furuyashiki Village (1982) and Magino Village – A Tale (1986), both screened on 16mm film. Since the 2014 Taiwan International Documentary Festival's retrospective Ogawa Production – 11 Flowers of Movement Cinema, opportunities to see his works in Taiwan have been rare. Accompanying the screenings, scholar Markus Nornes will introduce the films and offer insights into what Ogawa described as "pursuing the supreme happiness in documentary filmmaking." -
Special FocusMoreBlack Realities: The Cinema of Tsai Yang-ming
Tsai Yang-ming, recipient of the 2021 Golden Horse Lifetime Achievement Award, was a major star of 1950s-60s Taiwanese cinema, appearing in over 150 films before turning to directing. From wuxia to social realism, he pushed commercial film boundaries, overcoming censorship to pioneer Taiwan's pulp films. To mark the publication of A Reunion Some Day: Godfather of Taiwan Black Movie, Tsai Yang-Ming, co-produced by TFAI and Yuan-Liou Publishing, we present Never Too Late to Repent and The First Stitch in tribute to his legacy. -
Main ProgramMoreFinding Wayne Wang: Chinese American Cinema and Beyond
Born in Hong Kong in 1949 to parents from Shandong, Wayne Wang grew up in a traditional Chinese family while attending British catholic schools. Though named after the Hollywood icon John Wayne, the Cantonese homophone of his name also reflected Chinese numerology, embodying the fusion of East and West in the fabric of his early life. In 1967, Wang moved to the U.S. during the height of the civil rights and anti-war movements. Inspired by exceptional art professors, he pursued painting and film and earned a master's in filmmaking in 1973 at the California College of the Arts, defying his family's expectations of a medical career. After a brief return to Hong Kong to work as a trainee for RTHK's TV series Below the Lion Rock, Wang settled in San Francisco's Chinatown, where he spent years gathering stories from the Chinese community. These stories would later form the foundation of his debut feature, Chan Is Missing, marking the start of his eclectic and influential career. From Chinatown to Hollywood Chan Is Missing was a bold, independent production that garnered high praise from New York Times critic Vincent Canby, catapulting Wang to prominence in the independent film scene. As the first Asian American narrative feature to secure theatrical distribution, it became a landmark in Chinese American film history. Along with Dim Sum: A Little Bit of Heart and Eat a Bowl of Tea, it forms Wang's "Chinatown Chronicles" of the 1980s. In the 1990s, Wang secured Hollywood studio backing for The Joy Luck Club ,a critically acclaimed film with an all-Asian cast that became a source of pride for the community. Afterwards, Wang sought to defy the label of "ethnic director." His next film, Smoke, set in Brooklyn's diverse neighborhoods, was a collaboration with Paul Auster. Through its narrative centering on multicultural families, the film explored the themes of reality/fiction, identity, and human connectedness through chance encounters. Entering the 2000s, Wang directed commercially successful Hollywood films with A-list stars. However, he never lost touch with his independent filmmaking roots, continuing to create deeply personal works such as A Thousand Years of Good Prayers. A Footless Bird: Identities in the Making Throughout Wayne Wang's career, some critics have described him as a "bird without feet." Constantly navigating between Hollywood and the independent film world, between Eastern and Western cultures, he remains untethered by specific genres, styles or cultural identities. His early Chinatown Chronicles reflect diverse cinematic influences: Chan Is Missing draws from the French New Wave with its guerrilla-style street cinemaphotography; Dim Sum: A Little Bit of Heart pays homage to Ozu with a delicate family portrait; and Eat a Bowl of Tea was conceived as a "Hollywood musical without music," reinventing the classical romantic comedy with a Chinatown twist. From East to West, from experimental indies to commercial hits, from jittery camerawork to meditative framing, Wang's ever-changing film styles mirror his reflections on his life and identity. Since 1968, American society has categorized various Asian ethnicities under the political label "Asian American," reducing complex lived experiences to a monolithic racial category. Wang, however, boldly explored the internal diversity within Chinese communities and their intersections with other ethnic groups. His films depict Chinese American identity as inherently hybrid and fluid, constantly questioning and redefining itself ― much like the blurred photo in Chan Is Missing or the mysterious ripples on water: ambiguous, complex, and reflective of the nature of life. Chinese American Cinema Beyond Wayne Wang This program presents key works from different stages of Wang's career, alongside Chinese American films that resonate with his influence. In 1982, the release of Chan Is Missing coincided with the murder of Vincent Chin, which sparked nationwide outrage and led to the documentary Who Killed Vincent Chin?. A Great Wall, following Chan Is Missing, became one of the few Chinese American films to achieve distribution success, capturing the clash of Chinese and Western cultures. Take Out, co-directed by an American and a Taiwanese filmmaker, depicts undocumented Chinese immigrants in New York, while its diverse cast and crew expand the definition of Chinese American cinema. Dìdi, directed by Bay Area native Sean Wang, explores the family themes central to Wang's films from the perspective of the new generation. Wayne Wang's films offer a window into the evolving identity of Chinese American and diasporic communities, which break boundaries through ongoing self-reinvention. Over the last forty years, Chinese American filmmakers have shaped this dynamic cinematic landscape―constantly shifting, evolving, and refusing to be fully defined. Program Adjustments【Errata】(updated 2025/04/02) • ON Programme Guide (April), p.9, p.10, p21 → Dìdi ｜▲ Non-English language segments of the film have no English subtitles. -
Special FocusMoreThe Complicity of Reality: Selections of Your Bros. Filmmaking Group
This program presents three films by Your Bros. Filmmaking Group—Gubuk (Hut) (2019), Ký Túc Xá (Dorm) (2021), and Taman-taman (Park) (2024), all directed by So Yo-hen. Each film is co-created with immigrants and migrant workers, weaving their stories using fictional and documentary approaches, ultimately revealing the reality of complicity. Program Adjustments ★ The post-screening discussion of Taman-taman (Park) on April 26, originally scheduled with director SO Yo-hen, will now feature LIAO Hsiu-hui and TIEN Zong-yuan from Your Bros. Filmmaking Group. -
EventMore♥ WELCOME TO SMALL TOWN ♥ TFAI 47th Anniversary
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Main ProgramMoreLet's Rondo: Lin Tuan-chiu and World Cinema
Having worked as a playwright for the Moulin Rouge Shinjuku theater and served as an assistant director to master filmmakers such as Makino Masahiro at Toho Film Company, Lin Tuan-chiu (1920-1988) accumulated extensive experience in relevant industries. During the rise of Taiwanese-language cinema in the mid-1950s, he founded Yu Feng Film Company and established the large-scale Hushan Studio, which included a non-profit actor training program that cultivated numerous talents. The studio facilities were generously rented out to other production companies whenever available. These efforts were essential in laying the groundwork for Taiwan's film industry. Lin recognized his films as Japanese films, and indeed, many aspects of his works exhibit reinterpretations of Japanese novels and cinema. Film critic Yamada Koichi noted that Lin’s films go beyond Japanese influences, incorporating memories and techniques from films around the world. Yamada and critic Hata Sahoko both argued that “a linear, vertical evolution” cannot fully capture the entirety of film history, and that understanding film history as “circular” or reminiscent of a rondo is more interesting. Their insight transcends the boundaries of time, region, and language by inviting a new form of cinema appreciation. Through the relationships between filmmakers, and exploring the motives, concepts, and styles of films, establishes a cyclical and “rondo-like” network of cinema. To illustrate May 13th, Night of Sorrow (1965) shares similarities of the depiction with sisterhood in Makino Masahiro’s The Opium War (1943), while the latter is deeply influenced by D.W. Griffith’s classic, Orphans of the Storm (1921). In Six Suspects (1965), the car-driving scenes in the rain adopted techniques of omission, non-linear narrative, and fast-paced storytelling that all bear a striking resemblance to Inoue Umetsugu’s Crossroad (1956). Meanwhile, its jazz-inspired soundtrack evokes the French New Wave classic Elevator to the Gallows (1958), and its suspenseful overhead shots of characters lying in beds recall Alfred Hitchcock’s Psycho (1960). Embodied with intriguing details and layers of charm, Lin’s films are complex and multifaceted works best admired through a rondo-esque perspective. TFAI proudly presents the retrospective of Lin Tuan-chiu, featuring all existing films and two special presentations: A reinterpretation of the lost Sigh for Fireworks through its screenplay and film stills, and the construction of the unfinished The Peach Blossom Fan through assembling the screenplay and rare, unedited film footage, making its exclusive premiere to the public. Join us as we dance along the cinematic journey of Lin Tuan-chiu’s captivating works. Curator: MISAWA Mamie Consultant: SHIH Wan-shun -
Special FocusMoreSonic Odyssey: Sound of the Universe
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Special FocusMoreXR Interactive: Grand Fantastic Adventure
01.04 SAT-02.23 SUN｜1F, TFAI ※ For screening schedule and ticket info, please visit TFAI’s official website or www.opentix.life/o/tfai . "XR" (Extended Reality) is an umbrella term for VR, MR, and AR, combining the virtual and the real. TFAI first showcased the VR film The Man Who Couldn't Leave in 2023 and followed up in 2024 with the "VR360: Between Virtual and Reality" exhibition, focusing on immersive VR360 viewing experiences. To kick off the new year, TFAI handpicked five standout works from major film festivals, inviting audiences to step into the realm of XR. The exhibition features Baby Frog, the only Taiwanese original piece, where audiences interact using the gesture-based command, "Can you give me a 'HAND'?", to help the Baby Frog evade attacks from giants. In Eggscape, grown-up Egg takes to the skies and battles aliens; if he perishes, a poignant sadness lingers. Explore Greek mythology in Lavrynthos, where multiple branching storylines lead to one of two outcomes: "Devour me, or let me take you away." Oto's Planet allows you to control your perspective with hand movements—each scene is so captivating that you won't want to blink or miss a single moment. Lastly, Gargoyle Doyle tells the story of a weathered gargoyle and unravels the mystery of its transformation. The story begins long, long ago, where the answers lie within the folds of time. XR Interactive breaks the boundaries between the virtual and the real, inviting you on an interactive, time-traveling adventure of fantasy! -
Main ProgramMoreBeyond Hot-Blooded Narratives: A Sports Film Selection
The term "hot blood," often synonymous with a spirit of passion, describes the drive to strive for dreams and face challenges without fear. In many sports films, this hot-blooded energy becomes a central element, showcasing the protagonist's growth through uplifting narratives and heroic imagery, delivering a message that hard work always leads to success. But does this kind of storytelling oversimplify the complex realities of the sports world? This program presents seven non-typical sports films that challenge traditional narratives, exploring the struggles and challenges of athletes from different perspectives. Faced with endless training, relentless competitions, and even the threat of death, why do these athletes continue to push their limits? These films downplay the significance of victory, offering open-ended conclusions that reveal another side of sports: beyond competition, they are arenas of human struggle, personal conflict, and societal pressure. 2024 has been a year marked by significant sports moments that resonated deeply with Taiwanese society: the highs and lows of female boxers at the Paris Olympics, the sorrowful news of Tai Tzu-ying's impending retirement, and the tragic loss of mountaineers. These events inspired this program. We hope viewers will, through these films, witness the loneliness and perseverance of athletes as they pursue the extreme, understanding the struggles and humanity hidden beneath the glory of competition, and gain a profound inner experience. These films break away from conventional narratives, using cinematic language and the filmmakers' insights to explore the more complex human emotions and themes within the world of sports. Werner Herzog's The Dark Glow of the Mountains and The Great Ecstasy of Woodcarver Steiner examine the soul's struggle against extreme challenges. Free Solo documents the psychological and emotional toll of a climber's superhuman feats. Nadia, Butterfly portrays the post-retirement confusion and identity crisis of swimmer Nadia, while Downhill Racer captures the intensity and stakes of ski racing. The Loneliness of the Long Distance Runner tells the story of a rebellious youth using running as a means of defiance and self-redemption in a juvenile detention center, while Small, Slow but Steady follows a hearing-impaired female boxer grappling with personal fears and the harsh realities of her gym's decline. Through creative storytelling, these films challenge our preconceptions of victory and competition, allowing us to view humanity's relentless pursuit of the extreme from a new perspective. Beyond celebrating athletic feats, they invite us into the inner worlds of athletes, exploring the subtle and often inaccessible spiritual dimensions. This program is a mental training session, inviting you to TFAI to redefine what "hot blood" means. Program Adjustments 【Changes concerning the film rating】(updated 2024/12/27) • The Great Ecstasy of Woodcarver Steiner + The Dark Glow of the Mountains：G → P • The Loneliness of the Long Distance Runner：G → P 【Errata】(updated 2024/12/20) • ON Programme Guide (January-February), p.21: the screening schedule of Small, Slow but Steady should be corrected to「01.05 SUN 14:00 ▲｜01.11 SAT 14:00 ▲ ★」.