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MORETFAI Brings Together Global Experts for “Future to the Back: Archives in Motion,” an International Forum on the Evolving Mission of Film Archives
Dedicated to the preservation, restoration, research, promotion, and education of audiovisual heritage, the Taiwan Film and Audiovisual Institute (TFAI) hosts “TFAI International Forum – Future to the Back: Archives in Motion” on November 13 and 14. The two-day event brings together representatives from leading archival institutions across the United States, Japan, Korea, Thailand, and Indonesia to exchange perspectives on the shared missions and challenges of audiovisual archiving in the contemporary era. Through five thematic lectures, two panel discussions, and one special screening with introduction, the Forum offers a rare opportunity to glimpse the evolving landscape of Asian film history and the future of audiovisual heritage preservation. In an age of rapidly generated images by AI, film archives serve as the cultural memory of a country, preserving the images of daily life and landscapes from the past, while continuously engaging with new visions of the future. The Forum opened with remarks by Deputy Minister of Culture Sue WANG. She said, “TFAI is hosting its first international forum today, it is a moment of great significance not only for the Ministry of Culture but also for Taiwan. It marks an important step forward in advancing our professional work in film preservation and restoration, and in strengthening our alignment with international practices.” ➤Sue WANG, Deputy Minister of Culture at the opening of TFAI International Forum（Courtesy of TFAI） TFAI Chairperson Arthur CHU also noted in his opening remarks, “Film preservation and restoration is an act of bringing cultural memory back to life. I am deeply grateful to the directors and experts from film archives around the world who have joined us for the TFAI’s first international forum. I hope these two days will be truly rewarding and inspiring for the audiences who are interested in film restoration.” ➤ Arthur CHU, TFAI Chairperson at the opening of TFAI International Forum（Courtesy of TFAI） The first day of the forum featured four thematic lectures: “Unlocking the Thai Film Archive: A Journey Through Its History, Mission and Future,” “Film Archiving in Japan: Institutional Development and Contemporary Challenges,” “When Images Speak: On Audiovisual Recording and Museum Narratives,” and “Preserving the Past, Projecting the Future: The Mission and Vision of the Korean Film Archive.” A panel discussion, “Reimagining Asian Cinema: Archives, Memory, and Transnational Collaboration,” and a special screening, “From Film Archives to Open Access,” followed, inviting participants to rediscover the historical images and the resilience behind each archive’s founding journey. Speakers reflected on issues such as limited resources, institutional challenges, and the enduring passion that drives archivists to reconnect moving images with the public, reminding audiences of the difficulty and value of preserving our cultural heritage. Sanchai CHOTIROSSERANEE, Deputy Director of the Thai Film Archive, shared insights during his talk “Unlocking the Thai Film Archive: A Journey Through Its History, Mission and Future.” “AI restoration is simply not possible at this stage. A computer tends to scrub images until they are perfectly clean and uniform, yet much of a film’s visual character and beauty comes from subtle, human traces – the tiny imperfections that give the image life. To preserve this vitality, restoration still relies heavily on human judgment to maintain the film’s artistic integrity.” Despite rapid technological advancements, film archives around the world consistently observe that the “handcrafted” aspect of restoration and preservation remains irreplaceable. ➤Sanchai CHOTIROSSERANEE, Deputy Director of Thai Film Archives, shared insights during his talk “Unlocking the Thai Film Archive: A Journey Through Its History, Mission and Future.”（Courtesy of TFAI） Alongside Hisashi OKAJIMA, Director of National Film Archive of Japan, and KIM Hong-Joon, Director of the Korean Film Archive, CHOTIROSSERANEE emphasized that moving images embody a country’s cultural spirit, allowing new generations to reinterpret history and strengthen identity. Long dedicated to preserving and promoting Thai and Southeast Asian cinema, Deputy Director Sanchai noted that, “We now rely heavily on social media for outreach, and we believe it is essential to pay attention to how young people engage with these materials. At the Thai Film Archive, we release many audiovisual files from the 1970s online. Young creators then reinterpret them in inventive ways, and I must say their creativity has broadened my thinking and truly opened my eyes.” Director Kim Hong-joon also echoed this concept saying that his current guiding principle for the Korean Film Archive is “access over preservation and restoration.” He explained, “The pace at which Korean audiovisual works are produced today is incredibly rapid. We hope that by making historical footage and archival works more openly accessible, they can resonate more deeply with the public.” As his team is deeply engaged in social-media strategy, he joked that he felt both nervous and excited at this very moment because the Korean Film Archive’s official YouTube channel is about to reach one million subscribers. “For us, this milestone marks a truly significant moment in promoting Korea’s audiovisual culture,” he said. OKAJIMA remarked that Japan’s frequent natural disasters pose significant challenges to film preservation. Looking back at history, he added that we also cannot ignore the human-made destruction caused by war – factors that have deeply shaped the survival and retention rate of a nation’s cinematic heritage. ➤Hisashi OKAJIMA, Director of Japan National Film Archive, remarked that Japan’s frequent natural disasters pose significant challenges to film preservation.（Courtesy of TFAI） At the thematic lecture “When Images Begin to Speak: On Audiovisual Recording and Museum Narratives,” DeSoto BROWN, historian and curator for the Archives at Bishop Museum in the United States, presented a series of rare historical materials on Hawai‘i, inviting the audience to observe how the streets along Waikīkī’s shoreline have transformed over the past eighty years. As a descendant of the family of John Papa I‘i, the renowned nineteenth-century Hawaiian historian and writer, BROWN spoke with particular resonance about the importance of intergenerational memory. He emphasized, “What truly matters are the smallest, most unassuming details of everyday life. It is those ordinary moments that ultimately tell the stories that belong to us.” ➤DeSoto BROWN, historian and curator for the Archives, Bishop Museum in the United States, participated in the Forum online.（Courtesy of TFAI） The forum continues tomorrow (Nov. 14) with two additional sessions: a thematic lecture by Lisabona RAHMAN , FIAF’s Training and Outreach Coordinator, titled “Caring for The Forgotten: Women, Archives, and Collective Practices in Southeast Asia,” followed by a panel discussion “Multiple Pathways to Image Accessibility: From Archives to Innovation” featuring RAHMAN, CHEN Wei-lun, Assistant Curator at the New Taipei City Art Museum, and Wood LIN, Supervisor of Division of Research & Program at TFAI. Through this journey of “memory returning,” they will explore how the moving images can illuminate future trends and redefine the relationship between audiovisual archives and society, culture, and art. More info about the Forum agenda：https://reurl.cc/oKee25 -
MORETSAI Ming-liang Honored with FIPRESCI 100 Lifetime Achievement Award as Vive L’Amour Returns to Venice in 4K
Thirty-one years after winning the Golden Lion at the 51st Venice International Film Festival in 1994, TSAI Ming-liang’s seminal work Vive L’Amour made a triumphant return to Venice with its 4K digital restoration by the Taiwan Film and Audiovisual Institute (TFAI). The film was presented in the prestigious Venice Classics section of the 82nd Venice International Film Festival and had its world premiere at the festival yesterday (September 3). TFAI Chairperson Arthur CHU, director TSAI Ming-liang, and actor LEE Kang-sheng were all in attendance, joining cinephiles worldwide in celebrating this historic moment. ➤ Vive L’Amour (4K Restoration) was selected for the Venice Classics section of the 82nd Venice International Film Festival. The world premiere of the 4K digital restoration of Vive L’Amour was held in Venice to a packed house, with the audience’s enthusiasm reflecting their eagerness to witness the artistry of a master filmmaker. Through sparse dialogue and a detached visual language, the film portrays the loneliness of urban life, showcasing TSAI Ming-liang’s distinctive aesthetic and marking the beginning of his long-term collaboration with actor LEE Kang-sheng. ➤ From left to right: LEE Kang-sheng(Actor), Arthur CHU(Chairperson of TFAI), Paola CASELLA(Vice President of FIPRESCI), TSAI Ming-liang(Director), Alberto BARBERA(Artistic Director of the Biennale Cinema for 2025), Ahmed SHAWKY(President of FIPRESCI) Before the premiere, the festival presented director Tsai Ming-liang with the FIPRESCI 100 Lifetime Achievement Award, in recognition of his significant contributions and influence in the film industry, as well as his continuous innovation and challenges in aesthetics and narrative. This marks the 7th FIPRESCI award of his illustrious career, following previous honors in Venice, Berlin, and Cannes. ➤ TSAI Ming-Liang Receives FIPRESCI 100 Lifetime Achievement Award in Venice. Accepting the award, TSAI reflected: “Within 30 years, I have received five FIPRESCI awards in succession. I have always felt the strong support of international film critics, and that has made my creative journey never feel lonely.” He also remarked on his return to Venice: “The Golden Lion Award is very important to me. It was the place where I first connected with international audiences. After 31 years, returning to Venice and seeing new young audiences watching my films makes me very happy. I am grateful to the Taiwan Film and Audiovisual Institute for restoring the 4K version, allowing Vive L’Amour to return to Venice once again.” Actor LEE Kang-sheng, TSAI’s longtime collaborator, expressed his feelings: “Coming to Venice feels like coming home. And coincidentally this year, Director TSAI also brings his new work Back Home. I hope you all enjoy it.” Arthur CHU, Chairperson of TFAI, emphasized the significance of the restoration: “Restoring this film is not only about preserving the director’s unique cinematic aesthetics, but also about documenting the growth of his actors and the transformation of Taipei as a city. Vive L’Amour remains a vital testimony of our cultural memory.” ➤ Vive L’Amour captured the loneliness of urban life through sparse dialogue and a detached visual language. This meticulous 4K digital restoration was completed through a close collaboration between the TFAI and Director TSAI, restoring the images of Taipei and sound textures to the way the director originally intended them to be presented. As a result, the film was able to return to the international festival stage 31 years later with a fresh look, extending its artistic vitality and cultural influence. Just last year (2024), TFAI staged a special outdoor screening of Vive L’Amour in Taipei’s Da’an Forest Park on New Year’s Eve. More than 3,000 people gathered to weep together as they ushered in the new year, an event so remarkable it drew coverage from CNN and international media. The widely talked-about event paid tribute to the film’s iconic eight-minute crying sequence, which won actress YANG Kuei-mei Best Actress at the Singapore International Film Festival and paved the way for roles in TSAI Ming-liang’s later films. ➤ Arthur CHU, the chairperson of TFAI, invites audience to Taipei to watch Vive L’Amour on New Year’s Eve Following the Venice premiere, TSAI Ming-liang has also been invited to deliver a Masterclass on September 5th, offering festival audiences an intimate look into his creative journey and cinematic philosophy. -
MORETSAI Ming-liang Honored with FIPRESCI 100 Lifetime Achievement Award as Vive L’Amour Returns to Venice in 4K
Thirty-one years after winning the Golden Lion at the 51st Venice International Film Festival in 1994, TSAI Ming-liang’s seminal work Vive L’Amour made a triumphant return to Venice with its 4K digital restoration by the Taiwan Film and Audiovisual Institute (TFAI). The film was presented in the prestigious Venice Classics section of the 82nd Venice International Film Festival and had its world premiere at the festival yesterday (September 3). TFAI Chairperson Arthur CHU, director TSAI Ming-liang, and actor LEE Kang-sheng were all in attendance, joining cinephiles worldwide in celebrating this historic moment. ➤ Vive L’Amour (4K Restoration) was selected for the Venice Classics section of the 82nd Venice International Film Festival. The world premiere of the 4K digital restoration of Vive L’Amour was held in Venice to a packed house, with the audience’s enthusiasm reflecting their eagerness to witness the artistry of a master filmmaker. Through sparse dialogue and a detached visual language, the film portrays the loneliness of urban life, showcasing TSAI Ming-liang’s distinctive aesthetic and marking the beginning of his long-term collaboration with actor LEE Kang-sheng. ➤ From left to right: LEE Kang-sheng(Actor), Arthur CHU(Chairperson of TFAI), Paola CASELLA(Vice President of FIPRESCI), TSAI Ming-liang(Director), Alberto BARBERA(Artistic Director of the Biennale Cinema for 2025), Ahmed SHAWKY(President of FIPRESCI) Before the premiere, the festival presented director Tsai Ming-liang with the FIPRESCI 100 Lifetime Achievement Award, in recognition of his significant contributions and influence in the film industry, as well as his continuous innovation and challenges in aesthetics and narrative. This marks the 7th FIPRESCI award of his illustrious career, following previous honors in Venice, Berlin, and Cannes. ➤ TSAI Ming-Liang Receives FIPRESCI 100 Lifetime Achievement Award in Venice. Accepting the award, TSAI reflected: “Within 30 years, I have received five FIPRESCI awards in succession. I have always felt the strong support of international film critics, and that has made my creative journey never feel lonely.” He also remarked on his return to Venice: “The Golden Lion Award is very important to me. It was the place where I first connected with international audiences. After 31 years, returning to Venice and seeing new young audiences watching my films makes me very happy. I am grateful to the Taiwan Film and Audiovisual Institute for restoring the 4K version, allowing Vive L’Amour to return to Venice once again.” Actor LEE Kang-sheng, TSAI’s longtime collaborator, expressed his feelings: “Coming to Venice feels like coming home. And coincidentally this year, Director TSAI also brings his new work Back Home. I hope you all enjoy it.” Arthur CHU, Chairperson of TFAI, emphasized the significance of the restoration: “Restoring this film is not only about preserving the director’s unique cinematic aesthetics, but also about documenting the growth of his actors and the transformation of Taipei as a city. Vive L’Amour remains a vital testimony of our cultural memory.” ➤ Vive L’Amour captured the loneliness of urban life through sparse dialogue and a detached visual language. This meticulous 4K digital restoration was completed through a close collaboration between the TFAI and Director TSAI, restoring the images of Taipei and sound textures to the way the director originally intended them to be presented. As a result, the film was able to return to the international festival stage 31 years later with a fresh look, extending its artistic vitality and cultural influence. Just last year (2024), TFAI staged a special outdoor screening of Vive L’Amour in Taipei’s Da’an Forest Park on New Year’s Eve. More than 3,000 people gathered to weep together as they ushered in the new year, an event so remarkable it drew coverage from CNN and international media. The widely talked-about event paid tribute to the film’s iconic eight-minute crying sequence, which won actress YANG Kuei-mei Best Actress at the Singapore International Film Festival and paved the way for roles in TSAI Ming-liang’s later films. ➤ Arthur CHU, the chairperson of TFAI, invites audience to Taipei to watch Vive L’Amour on New Year’s Eve Following the Venice premiere, TSAI Ming-liang has also been invited to deliver a Masterclass on September 5th, offering festival audiences an intimate look into his creative journey and cinematic philosophy. -
MOREJudy ONGG Attends Osaka Asian Film Festival as Restored Classic Tracing to Expo ’70 Has World Premiere
As global attention turns to Expo 2025 Osaka, the 21st Osaka Asian Film Festival (OAFF, August 29 – September 7) opened with the world premiere of Tracing to Expo ’70 (2K Restoration), restored by the Taiwan Film and Audiovisual Institute (TFAI). Starring then-20-year-old Taiwan–Japan superstar Judy ONGG, the film returns to Osaka’s big screen 55 years after its original release. Tickets sold out immediately, underscoring the strong anticipation among cinephiles and Expo enthusiasts. ➤ After half a century, Tracing to Expo ’70 (2K Restoration) returned to Osaka for its world premiere. The opening ceremony was followed by the screening, which offered audiences a vivid glimpse of the 1970 Osaka Expo. The restored images bridged past and present, sparking laughter and amazement throughout the theater and highlighting cinema’s power to preserve memory. ➤The world premiere of TFAI’s Tracing to Expo ’70 (2K Restoration), selected as the Opening Film of OAFF, was met with overwhelming enthusiasm, playing to a full house. (© OAFF EXPO2025-OAFF2026) The evening reached its peak when Judy ONGG appeared in person for a post-screening talk. She greeted the audience in fluent Japanese and Taiwanese and recalled styling all her costumes herself. She also shared anecdotes from filming, including running through snowy Hokkaido streets in high heels, drawing warm applause. ➤ Judy ONGG styled her own looks for the film. TFAI Chairperson Arthur CHU (褚明仁) remarked: “The highlight tonight is standing alongside Ms. ONGG. As someone from the Expo generation, I vividly remember watching the opening ceremony on television 55 years ago. To relive those moments today is deeply moving. Restoring Tracing to Expo ’70 is not only about reviving a film, but about restoring the spirit of its era.” The festival also featured the film on its official poster and published CHU’s bilingual essay reflecting on its cultural and historical significance. OAFF Programme Director Sozo TERUOKA (暉峻創三) praised the restoration as “a discourse spanning international politics, Taiwan–Japan exchange, and film history,” while highlighting its striking costumes, colors, and music. ➤ Osaka Asian Film Festival Programme Director Sozo TERUOKA praised the film’s costumes, color design, and music. Rarely seen since its 1970 release, Tracing to Expo ’70 was long regarded in Japan as a “phantom film.” TERUOKA first discovered it while curating the 2003 Tokyo International Film Festival’s “Judy ONGG’s Taiwan Film Era” retrospective but was unable to present it then due to the deteriorated print. He expressed gratitude that TFAI completed the digital restoration in time for OAFF and entrusted the world premiere to the festival. ➤ Tracing to Expo ’70 (2K Restoration) gives audiences a glimpse of the differences between the 1970 World Expo and today’s Expo. In addition to Tracing to Expo ’70, TFAI present other restored works at OAFF, including the Taiwan–Japan co-produced tokusatsu Dragon Superman (2K Restoration), the Taiyupian (Taiwanese-language feature) Goodbye Seventeen (2K Restoration), and the teen romance The Fellow Who Rejected College – 2025 Director’s Edition (2K Restoration). Together, these films showcase the richness of Taiwan’s cinematic heritage.