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MORETFAI Presents Retrospective “Mumei: In Memory of Tatsuya Nakadai”, Honoring a Legend of Japanese Cinema in April
This April, the Taiwan Film and Audiovisual Institute (TFAI) presents “Mumei: In Memory of Tatsuya Nakadai,” a special retrospective celebrating the extraordinary life and career of legendary Japanese actor Tatsuya NAKADAI. Featuring eight selected works, the program highlights NAKADAI’s singular screen presence and remarkable range across more than seven decades of performance. NAKADAI collaborated extensively with masters such as Akira KUROSAWA, Masaki KOBAYASHI, and Mikio NARUSE. He also founded the actor training institution “Mumeijuku”, which nurtured talents including Cannes Best Actor winner Koji YAKUSHO. Widely regarded as one of the greatest actors in Japanese cinema, Nakadai passed away in 2025 at the age of 92, remaining active on stage until the very end. NAKADAI began his film career in the early 1950s, during the height of Japan’s studio system, when major companies such as Toho, Shochiku, Daiei Film, Toei Company, and Nikkatsu maintained exclusive contracts with actors. In contrast, Nakadai chose to remain freelance, prioritizing artistic freedom over financial stability. Moving between film and theatre, he pursued a wide spectrum of roles and developed a career defined by versatility and independence. A centerpiece of the program is The Human Condition𝙸: No Greater Love (1959), directed by Masaki KOBAYASHI and adapted from the novel by Junpei GOMIKAWA. Widely considered one of the most important anti-war films in Japanese cinema, this film will be screened in 35mm this time at TFAI. The main character Kaji, played by NAKADAI, is an idealist struggling against the brutality of wartime systems. NAKADAI’s portrayal has often been cited as one of the most powerful debut leading performances in film history. In striking contrast, NAKADAI’s role in The Key (1959) reveals his ability to navigate psychologically complex and morally ambiguous characters. Portraying a man entangled in a morally complex web of desire and taboo within a dysfunctional family, his nuanced performance captures the tension between restraint and suppressed desire, demonstrating his extraordinary command of subtle emotional expression. NAKADAI continued to redefine his craft across decades. At age 29, he portrayed an aged rōnin in Harakiri (1962), and later delivered dual performances in KRROSAWA’s Kagemusha (1980), embodying both a cunning thief and a formidable warlord Takeda SHINGEN. In the same year, he appeared in the epic Port Arthur（1980), while his towering performance in Ran (1985) remains one of the defining achievements of his career. In his later years, NAKADAI continued to take on deeply introspective roles. In A Japanese Tragedy (2012), he portrays an aging carpenter confronting illness, loss, and mortality. The documentary Tatsuya Nakadai: Living by Acting (2015) offers rare insight into his working methods, revealing an actor of exceptional discipline and humility. Despite portraying many iconic and larger-than-life figures, NAKADAI remained personally reserved and grounded. His lifelong philosophy, mumei (“namelessness”), reflects a commitment to humility and to never losing sight of one’s artistic origins. More information about “Mumei: In Memory of Tatsuya Nakadai” is available on the TFAI official website: https://tfaitw.pse.is/8vgvzq ➤A centerpiece of the program is The Human Condition𝙸: No Greater Love (1959), directed by Masaki KOBAYASHI ➤NAKADAI portrayed a man entangled in a morally complex web of desire and taboo within a dysfunctional family in The Key (1959). （©KADOKAWA CORPORATION 1959） ➤NAKADAI’s dual performances in KRROSAWA’s Kagemusha (1980) （©1980 TOHO CO., LTD） ➤NAKADAI’s unforgettable turn as the warlord Hidetora Ichimonji in Ran (1985) （©Studio Canal） ➤The documentary Tatsuya Nakadai: Living by Acting (2015) offers a rare glimpse behind the scenes（©TAKION JAPAN） -
MORETFAI to Present World Premiere of Digitally Restored Zhang Di Seeks A-Zu, Starring “King of Taiwanese Opera” YANG Li-hua and “King of Impromptu Singing” ZHANG Di
One of the greatest pleasures of watching classic films is seeing legendary stars perform opposite each other on the same screen. A true “clash of the titans” moment in Taiwanese cinema is the 1969 Taiwanese-language (Taiyupian) musical comedy Zhang Di Seeks A-Zu, starring YANG Li-hua and ZHANG Di. A sensation upon its original release, the film’s playful and witty storyline continues to delight audiences. To mark the Taiwan Film and Audiovisual (TFAI) 48th anniversary this March, and in conjunction with the commemorative program “Formosa Treasure: Taiyupian as World Cinema” (Pó-tó Ti̍k-sán: Sè-kài ê Tâi-gí-phìnn), celebrating 70 years of Taiwanese-language film, TFAI will present the world premiere of the digitally restored Zhang Di Seeks A-Zu (1969) on March 28. Don’t miss this rare opportunity to experience “the king of impromptu singing” and “the king of Taiwanese Opera” perform together on the big screen. ZHANG Di, who loved singing from a young age, did not follow in the footsteps of his father, a renowned physician. Instead, he made a name for himself early on performing in southern Taiwan’s nightclub circuit, rising to fame for his improvisational lyrics and interactions with audiences. At the same time, YANG Li-hua, widely beloved by Taiwanese opera audiences for playing “xiaosheng” (young male lead roles), had also begun starring in Taiwanese-language opera films. One honed his craft on the nightclub stage, while the other grew up on the opera stage. Though their performance styles differed greatly, their shared passion for singing and performing sparked an instant friendship, creating an irreplaceable on-screen chemistry in Zhang Di Seeks A-Zu. The screenplay of Zhang Di Seeks A-Zu originated from ZHANG Di’s signature stage performance piece “Seeking A-Zu.” The film begins as a rural romantic comedy before unfolding into a “country bumpkin in the city” farce in the second half. Zhang Di and A-Zu, whose parents are sworn enemies, are a squabbling couple whose relationship is further tested when a wealthy heir comes between them. Heartbroken, A-Zu leaves home and heads to Taipei, while Zhang Di sets out in pursuit of her love, leaving a trail of mayhem and comic misadventures. Can this ill-fated couple find their happy ending? This lively story is brought to life by the two major stars as the couple, supported by a strong lineup of character actors including Ai-A-Tsai, Ling-Ling, Hoo-Dau, LIN Sung-i, KANG Ting, and Thuat Suann. The film remains an indispensable classic in the history of Taiwanese-language cinema. Zhang Di Seeks A-Zu is also the earliest surviving modern-dress film featuring YANG Li-hua. At just 25 years old, the “King of Taiwanese Opera” appears in a rare female look, wearing twin braids and a short skirt as she boldly professes her love, showcasing a captivating charm beyond traditional opera costumes. Meanwhile, seeing ZHANG Di’s famous smile on the big screen instantly brings back his signature call-and-response line, “Friend, you ask Zhang Di…” Both leads demonstrate their singing and acting talents throughout the film, which helped drive its box-office success. The film features 19 memorable songs, with lyrics by renowned lyricist YEH Chun-lin, as well as music and lyrics written by ZHANG Di himself. A major highlight of TFAI’s programming this year is “Formosa Treasure: Taiyupian as World Cinema,” a celebration of 70 years of Taiwanese-language cinema. One of its four thematic sections, “Contemporary Resonance,” showcases TFAI’s latest digital restoration achievements. The world premiere of the digitally restored Zhang Di Seeks A-Zu will serve as the section’s opening screening, presented free of charge at 19:00 on Saturday, March 28, at TFAI’s outdoor plaza. Audiences are invited to experience the original screen charisma of these two iconic stars. For more information, please visit the TFAI official website: https://tfaitw.pse.is/8ubl7g ➤ To mark TFAI’s 48th anniversary this March (2026), the digitally restored Zhang Di Seeks A-Zu (1969) will make its world premiere on March 28. (Courtesy of TFAI) ➤ At just 25 years old, “King of Taiwanese Opera” YANG Li-hua appears in a rare female look with twin braids in Zhang Di Seeks A-Zu, boldly professing her love. (Courtesy of TFAI) ➤ The comedic supporting cast of Zhang Di Seeks A-Zu (from left): Hoo-Dau, Ai-A-Tsai, Ling-Ling, and LIN Sung-i. (Courtesy of TFAI) ➤ The musical numbers of Zhang Di Seeks A-Zu are both delightful and entertaining. (Courtesy of TFAI) ➤ Archival newspaper clippings of the original release of Zhang Di Seeks A-Zu. (Courtesy of TFAI) -
MORETFAI Launches “Formosa Treasure: Taiyupian as World Cinema” to Celebrate 70 Years of Taiwanese-Language Film
“Taiyupian”—commercial films made in Taiwan and voiced in the Taiwanese language—can be considered an “endemic species of Taiwan” in world cinema history, transcending time and space to become a precious audiovisual heritage. In 1956, the release of the first Taiyupian shot on 35mm film, Xue Pinggui and Wang Baochuan (《薛平貴與王寶釧》) , ushered in a golden age of Taiwanese-language cinema. This year (2026), Taiyupian officially celebrates its 70th anniversary. Under the title “Formosa Treasure: Taiyupian as World Cinema” (Pó-tó Ti̍k-sán: Sè-kài ê Tâi-gí-phìnn), the Taiwan Film and Audiovisual Institute (TFAI) has planned a year-long commemorative series beginning in March, featuring film screenings, interactive exhibitions, and artifact showcases. Now is the time to uncover the origins of Taiwanese cinema! According to TFAI’s research, approximately 1,200 films in Taiwan’s cinematic history can be categorized as Taiyupian. However, only about 200 titles remain in TFAI’s collection; the rest survive only in written records or fragmentary footage. Since 1990, when TFAI first launched efforts to rescue, preserve, and study Taiyupian, it has continuously devoted itself to collecting film prints, artifacts, and oral histories, while further expanding into multi-faceted film research, digital restoration, and international promotion. Taiyupian works, together with their screenplays, posters, and artifacts, have accompanied TFAI throughout this journey, and remain among its most unique and treasured archival holdings. As a film form fundamentally rooted in language, Taiyupian were often labeled as crude productions or overly melodramatic in the past. Yet beneath these stereotypes ran an undercurrent of creative freedom. As Sozo TERUOKA, the Artistic Director of the Osaka Asian Film Festival, observed after watching Taiwanese-language spy films, action films, tokusatsu-inspired science fiction, romances, and comedies: “Most Mandarin-language films at the time carried clear political propaganda. In Taiwanese-language films, however, I could feel a freer, less restrained atmosphere.” French film scholar Wafa GHERMANI also notes that “Taiwanese-language films display a highly expressive performance style and a wide variety of genres, where one can see both the influence of Japanese cinema and distinctive elements of local culture.” Today, viewing Taiyupian from a “world cinema” perspective reflects a shift grounded in TFAI’s research findings over the past decade. The 70th anniversary program “Formosa Treasure: Taiyupian as World Cinema” likens Taiyupian to a distinctive flavor nurtured by the island of Formosa (Taiwan’s former name). The perspective is elevated from the local to the global, echoing the many forms of world cinema. Rich in diversity, Taiyupian should be positioned as a coordinate within global film history, while also emphasizing their approachable and irreplaceable culture. “Formosa Treasure: Taiyupian as World Cinema” is a year-long series of events that unfolds through four core themes: “Contemporary Resonance,” a curated selection of Taiyupian screenings delivered through themed and special programs; “Salute to the Pioneers of Taiwanese-Language Cinema (Taiyupian): Ho Chi-ming and Huaxing Movie Studio,” which opens in March with three works; “Taiyupian Relativity,” a monthly selection of films from April to August that explore the affinities and divergences between Taiyupian and world cinema, offering a view of the world through a Taiwanese lens; and the September themed program “70 Years of Taiwanese-Language Film,” which presents newly digitized films along with “the most Taiwanese” exclusive merchandise. “Contemporary Resonance” will also highlight TFAI’s major digital restoration achievements this year, including Zhang Di Seeks A-Zu (1969), starring the dream duo of renowned singer ZHANG Di and Taiwanese opera performer YANG Li-hua; the comedy Good Neighbors (1962), directed by LI Hsing; and Love Never Ceases (1962), featuring the heartfelt performance and singing of HUNG Yi-feng. At the same time, TFAI will expand institutional collaborations across Taiwan and internationally, screening Taiyupian in various Taiwanese counties and cities while also stepping onto the global stage with tours to places such as Singapore and Japan. “Textual Expeditions” will publish a series of Taiyupian screenplays, collaborate with theater companies on staged performances, and organize script-reading events; “Lost Film Histories” will focus on independent research into surviving Taiyupian fragments, open-access initiatives, and hosting research forums; and “World Memories” will revisit and retrace the history of Taiyupian, connecting global audiences through filmmakers’ oral histories and online curatorial projects. We must continue to affirm the importance of Taiwanese-language cinema to both Taiwan and the world. It is our hope that “Taiyupian” will not be seen merely as Taiwanese-language films belonging to Taiwan, but Taiwanese-language films belonging to the world. For more information, please visit the TFAI official website: https://tfaitw.pse.is/8sqvk5 ➤“Contemporary Resonance,” a curated selection of Taiyupian, features Love Never Ceases (1962), highlighted by the heartfelt performance and singing of HUNG Yi-feng. （Courtesy of TFAI） ➤“Contemporary Resonance” will also highlight TFAI’s major digital restoration achievements this year, including Zhang Di Seeks A-Zu (1969), starring the dream duo of renowned singer ZHANG Di and Taiwanese opera performer YANG Li-hua;。（Courtesy of TFAI） ➤ Since 1990, when TFAI first launched efforts to rescue, preserve, and study Taiyupian.（Courtesy of TFAI） ➤TFAI will expand institutional collaborations across Taiwan and internationally（Courtesy of TFAI） ➤TFAI will expand institutional collaborations across Taiwan and internationally（Courtesy of TFAI） -
MORETFAI Presents March Screenings of Classics by Pioneering Taiwanese Filmmakers PAI Ching-jui and HO Chi-ming
Taiwan cinema has reigned supreme at the box office this year, with a succession of domestic films accounting for a significant share of box office revenues dating back to last year. The wave of Taiwanese films surpassing the NT$100 million mark continues to gain momentum, prompting renewed exploration and reflection on our own culture. In response, the Taiwan Film and Audiovisual Institute (TFAI) is launching a Taiwanese Film Masters month this March. Through the retrospective “Desires Adrift: Selected Films by Pai Ching-jui” and the special program “Salute to the Pioneers of Taiwanese-Language Cinema (Taiyupian): Ho Chi-ming and Huaxing Movie Studio,” TFAI presents carefully selected early representative works by these “founding fathers of Taiwan cinema.” In these films, familiar landscapes and linguistic cultures become integral parts of the narrative, offering a glimpse into the evolution of Taiwan’s film production over the years. The once-immensely popular Chiung Yao-style romantic melodramas were originally influenced by the works of director PAI Ching-jui. TFAI’s March program “Desires Adrift: Selected Films by Pai Ching-jui” takes “desire” as its thematic focus, tracing the filmmaker’s creative trajectory through a curated selection of films. As the first director in Taiwan film history to study in Italy, PAI brought a powerful visual style and a realist narrative approach that infused Taiwanese cinema of the 1960s with unprecedented vitality. The striking avant-garde documentary-style images of PAI’s first film after returning from Italy, A Morning in Taipei (1964), not only preserve the urban spirit of Taipei at the time but also foreshadow his continuing pursuit of capturing the realities of human nature through the lens. In his first independently directed feature, Lonely Seventeen (1967), PAI boldly explores a romantic triangle involving a teenage girl. Pressures of the exam-oriented education system, the confusion of first love, and the unspoken generational gap with her parents ultimately push the protagonist Tan-mei toward a tragic and frenzied ending. Meanwhile, the light and realist comedy The Bride and I (1969) tackles gender relations head-on through the subject of marriage. Upon its release, the film set a new box-office record in just four days, and its witty character interactions remain thought-provoking even today. Morality teeters on the edge while desire lingers in uncertainty. Accidental Trio (1969) centers on three middle-class families living on different floors of a Taipei apartment block, with a newlywed couple, a three-generation household, and a high school girl each harboring impulses toward infidelity. Observing the suffocating frustrations of these characters also prompts audiences to reflect on their own inner longings. Other unmissable classics in “Desires Adrift: Selected Films by Pai Ching-jui” include Good Bye! Darling (1970), adapted from CHEN Yingzhen’s short story The General’s Family; the anthology film Four Moods (1970), a collaboration between four renowned directors; Home, Sweet Home (1970), about an overseas Taiwanese pondering whether to begin a second life abroad; Love in a Cabin (1972), in which a romance unfolds after a chance meeting at a movie theater; and The Wheel of Life (1983), an ingenious transformation of traditional Chinese opera into cinematic language, co-directed by King HU, LI Hsing, and PAI Ching-jui. In particular, the new digitally restored versions of PAI Ching-jui’s three representative works—Lonely Seventeen, Accidental Trio, and Good Bye! Darling—will be screened in Taipei for the very first time. For session times and ticket information for “Desires Adrift: Selected Films by Pai Ching-jui,” please visit: https://tfaitw.pse.is/8samn2 The special program “Salute to the Pioneers of Taiwanese-Language Cinema (Taiyupian): Ho Chi-ming and Huaxing Movie Studio” marks the opening of TFAI’s year-long theme celebrating the 70th anniversary of Taiwanese-language cinema. Director HO Chi-ming’s Xue Pinggui and Wang Baochuan (1956), produced in collaboration with the Taiwanese opera Gongle Troupe of Mailiao, is widely regarded as the starting point of Taiyupian history. Its success sparked a surge in Taiyupian production and led to the founding of Huaxing Movie Studio, Taiwan’s first privately owned film studio. This special program presents three films: the comedy The Cowardly Hero (1958), which introduced widescreen technology to Taiwanese cinema; Misty Night in Hong Kong (1967), demonstrating HO Chi-ming’s cross-border collaboration with Japanese filmmakers; and the documentary The Lost Kingdom (1967), which looks back at the Gongle Troupe’s journey between traditional opera and the film industry. In addition to film screenings, TFAI has arranged a special lecture-performance titled “Re-drawing the Soundscape: Tracing the Lost Taiyu Soundtrack of Xue Pinggui and Wang Baochuan.” As the original Taiwanese-language (Taiyu) soundtrack of Xue Pinggui and Wang Baochuan remains lost, TFAI has drawn upon surviving sources—including the screenplay, recordings from the Gongle Troupe, and musical scores preserved in promotional materials—and invited scholars and artists to reimagine and “revive” the film’s lost soundscape in a live performance. Audiences are welcome to come and witness this historical moment that transcends time and space. For ticket information on “Salute to the Pioneers of Taiwanese-Language Cinema (Taiyupian): Ho Chi-ming and Huaxing Movie Studio,” please visit: https://tfaitw.pse.is/8samzz ➤ Accidental Trio (1969) centers on the suppressed desires of residents in a Taipei apartment complex. (Courtesy of TFAI) ➤ The lighthearted realist comedy The Bride and I (1969) explores gender relations through the lens of marriage. (Courtesy of TFAI) ➤ Love in a Cabin (1972) is a romance born from a chance meeting at a movie theater. (Courtesy of TFAI) ➤ The Wheel of Life (1983) ingeniously transforms traditional Chinese opera into cinematic language. (Courtesy of TFAI) ➤TFAI’s March special program “Salute to the Pioneers of Taiwanese-Language Cinema (Taiyupian): Ho Chi-ming and Huaxing Movie Studio.” (Courtesy of TFAI) ➤ The comedy film The Cowardly Hero (1958) pioneered the use of widescreen. (Courtesy of TFAI) ➤ The documentary The Lost Kingdom (1967) looks back at the Gongle Troupe’s journey between traditional opera and the film industry. (Courtesy of TFAI)