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MOREA World-First New Year’s Eve Tradition Returns to Taipei: Vive L’Amour 4K Restoration Makes Its Asian Premiere at Daan Forest Park
Taipei (January 1, 2026) — Following the remarkable success of last year’s New Year’s Eve event, which attracted more than 3,000 participants, the Taiwan Film and Audiovisual Institute (TFAI) once again presents its distinctive year-end program, “Cry Me A Movier,” to welcome 2026. The event reunites internationally acclaimed director TSAI Ming-liang with actors LEE Kang-sheng and YANG Kuei-mei, and features the Asian premiere of the newly restored 4K version of Vive L’Amour, following its world premiere at the Venice Film Festival last September. Held at Taipei’s iconic Daan Forest Park, the outdoor screening is presented on an expanded large-scale screen to accommodate a growing audience. Through a shared cinematic experience, the program invites viewers to engage emotionally with the film and to welcome the New Year through reflection and resonance, marking a rare and historically significant moment. Since its reception, “Cry Me A Movier” has become a globally unique cultural phenomenon. Beyond setting an extraordinary precedent in film exhibition, the event offers an alternative approach to New Year celebrations by emphasizing emotional openness and collective experience. Responding to the overwhelming public interest last year, TFAI enlarged the screening facilities and selected Vive L’Amour—one of Tsai Ming-liang’s most representative works—for its first-ever Asian presentation in newly restored 4K. The evening program begins at the park’s Music Pavilion with Archiving Time (2019), a documentary that records TFAI’s ongoing efforts in rescuing and restoring moving images, highlighting the importance of audiovisual heritage preservation. This is followed by a screening of PAI Ching-jui’s silent film The Morning in Taipei (1964), accompanied by live music from DJ Elvis LIN, offering audiences a poetic glimpse of Taipei through images captured six decades ago. Before the screening of Vive L’Amour, nearly a thousand spectators had already gathered at Daan Forest Park, undeterred by the steady winter rain. Wearing raincoats and holding umbrellas, audiences filled the park benches in anticipation. Following a lively opening by the event’s featured host and performance artist UG, director TSAI Ming-liang, actors LEE Kang-sheng and YANG Kuei-mei took their seats amid enthusiastic cheers, marking the final screening of the year for many in attendance. As the film unfolded on the large outdoor screen, its portrayal of urban loneliness and emotional isolation in Taipei resonated deeply with the audience. The film’s renowned seven-minute final sequence, featuring YANG Kuei-mei’s uninterrupted expression of grief, proved particularly powerful in the shared viewing environment, eliciting a response that was both emotional and warmly appreciative. Shortly before the New Year’s countdown, the crew returned to the stage to engage with the audience. TSAI Ming-liang reflected on the personal significance of the occasion, noting that the event had become “one of the most important days” in his life. He shared his deep attachment to the film’s final image, which includes an appearance by LEE Kang-sheng’s father, now deceased, expressing gratitude for the enduring connection the film allows him to revisit each year. His remarks, revealing an intimate behind-the-scenes story of the film, moved many in the audience. LEE Kang-sheng described revisiting Vive L’Amour under the rainy night sky as a quietly melancholic yet comforting experience, adding that seeing the audience gathered together brought him a sense of joy and hope for future New Year’s reunions. YANG Kuei-mei also spoke candidly, recalling her concern during moments of heavy rain and her relief upon realizing that no one had left. She mentioned that while she had watched the film with laughter the previous year, this time she was moved to tears, emphasizing the significance of being able to reunite safely and welcome another year together. YANG further remarked on the clarity and detail revealed through the 4K digital restoration, praising TFAI’s dedication to preserving Taiwan’s cinematic heritage and the creative efforts of an earlier generation of filmmakers. Her heartfelt and humorous reflections on revisiting her youthful performance prompted both laughter and tears among the audience. As the countdown began, voices rose in unison to welcome 2026, bringing the rain-soaked evening to a moving and memorable conclusion. ➤On New Year’s Eve, the program opened at the Music Pavilion of Daan Forest Park with a screening of Archiving Time (2019), a documentary highlighting TFAI’s efforts in rescuing and restoring audiovisual materials. (Courtesy of TFAI) ➤Prior to the screening of Vive L’Amour, nearly an audience of 1000 gathered at Daan Forest Park, undeterred by the winter rain, wearing raincoats and holding umbrellas as they waited in anticipation. (Courtesy of TFAI) ➤Director TSAI Ming-liang remarks, “This day has become one of the most important days in my life—I wouldn’t dare schedule anything else.” (Courtesy of TFAI) ➤Actress YANG Kuei-mei shares her heartfelt reflections: “Last year I watched Vive L’Amour with laughter, but this year I felt like crying—because we are able to reunite here safely and welcome another peaceful year together.” (Courtesy of TFAI) ➤Actor LEE Kang-sheng expresses his hope to continue accompanying the audience on future New Year’s Eve nights. (Courtesy of TFAI) ➤The crew of Vive L’Amour joins the audience at Daan Forest Park to watch the film and welcome the New Year together. (Courtesy of TFAI) -
MORETFAI presents Love, Death & Rebels: The Japanese New Wave, the most rebellious chapter in Japanese film history
Sex did not equate to desire, nor did violence necessarily represent crime. In postwar Japan, a wave of emerging filmmakers burst onto the cinematic scene, channeling their discontent with society through radical and provocative imagery. Love, Death & Rebels: The Japanese New Wave, the first thematic program of 2026 presented by the Taiwan Film and Audiovisual Institute (TFAI), brings together 15 seminal works of Japanese New Wave in collaboration with the Japan Foundation and the Japan-Taiwan Exchange Association. Running from January to February 2026 at TFAI, the program invites audiences to confront depictions of death, bloodshed, and sexualityand to witness how cinema became a forceful act of social intervention. Following World War II, Japan experienced rapid economic recovery. Yet as the nation moved toward prosperity and modernization in the late 1950s, society was simultaneously engulfed in fierce protests against the US–Japan Security Treaty. Young people, still haunted by the trauma of defeat, struggled with uncertainty about the future, even as the government boldly proclaimed that Japan had entered a “post-postwar” era. Against this turbulent backdrop, a new generation of filmmakers transformed their inner conflicts and simmering resentment into the explosive cinematic movement known as the Japanese New Wave. Through films centered on desire and death, they mounted uncompromising critiques of authority, power, and rigid social structures. The program opens with Crazed Fruit (1956), adapted from a novel by ISHIHARA Shintaro. Depicting young men and women racing speedboats and indulging in reckless pleasures, the film was instrumental in establishing the iconic image of Japan’s rebellious “Sun Tribe” subculture. Several years later, OSHIMA Nagisa continued this exploration of youthful defiance in Cruel Story of Youth (1960), exposing the illusion of social harmony through a story of sexual assault and blackmail involving a high school girl. Renowned for his focus on “the lower strata of society and the lower part of the human body,” IMAMURA Shohei drew inspiration from Japanese folklore in Profound Desires of the Gods (1968), depicting the incestuous desires of an island’s indigenous inhabitants and the human conflicts ignited by modern development. Other powerful modern allegories featured include The Face of Another (1966), starring the late veteran actor NAKADAI Tatsuya, SHINDO Kaneto’s The Naked Island (1960), and TESHIGAHARA Hiroshi’s Oscar-nominated Woman in the Dunes (1964). Together, these works reflect the profound sense of alienation and helplessness experienced by individuals engulfed by a rapidly modernizing society. Meanwhile, master MASUMURA Yasuzō explored female desire and the boundaries between life and death through sexuality in A Wife Confesses (1961) and Red Angel (1966); MATSUMOTO Toshio boldly portrays Tokyo’s underground gay scene of the 1960s in Funeral Parade of Roses (1969); and YOSHIDA Yoshishige probed Oedipal themes of incest in A Story Written with Water (1965) and revisited taboo polyamorous relationships of the Taishō era in Eros + Massacre (1969). Together, these films announce the unraveling of social norms and moral certainties. Japanese film historian YOMOTA Inuhiko points out that Japanese New Wave directors “saw through the illusions of postwar society and critiqued reality with irony… often confronting immense difficulties, yet ultimately introducing entirely new themes, narrative structures, and cinematic languages to Japanese cinema.” Love, Death & Rebels: The Japanese New Wave presents these 15 fiercely powerful classics in rare versions, including 4K digital restorations and archival film prints. Returning to the big screen at TFAI in January and February 2026, these films demonstrate that, in today’s still-turbulent world, their audiovisual impact remains as startling and resonant as ever. Love, Death & Rebels: The Japanese New Wave Date: 3 January - 22 February 2026 Venue: Taiwan Film and Audiovisual Institute Ticketing Information: https://tfaitw.pse.is/8g9zhq -
MOREPhilippine Film Archive Head Don Gervin Arawan Visits TFAI Facilities and Engages in Professional Exchange
On December 5, the Taiwan Film and Audiovisual Institute (TFAI) welcomed Don Gervin Arawan, Head of the Philippine Film Archive (PFA) under the Film Development Council of the Philippines (FDCP), for his visit. Building upon past collaborations in film festivals, screenings, and international audiovisual events, this visit represents a new stage in Taiwan–Philippines cooperation in film preservation, restoration, and curatorial exchange. The relationship between TFAI and FDCP dates back to the 2024 Lumière Festival, where both institutions participated for the first time with restored films selected for Lumière Classics — TFAI with The Woman of Wrath and PFA with Jaguar. During the festival, TFAI’s Deputy Director of Administration, LIN Ying-chih met Head Arawan. Following this encounter PFA and FDCP expressed interest in TFAI’s film catalog for future curatorial reference, laying a solid foundation for ongoing collaboration. ➤ Don Gervin Arawan, Head of the Philippine Film Archive (PFA), visited TFAI and toured the institute's facilities. (Courtesy of TFAI) In November 2024, two FDCP executives also visited TFAI, where both institutions exchanged insights on archival preservation, further deepening collaboration prospects. In 2025, TFAI facilitated its first formal collaboration with FDCP’s Distribution and Exhibition Division, enabling two restored classics — The Wedding Banquet and Rebels of the Neon God — to be screened at the PeliKULAYa: International LGBTQIA+ Film Festival in July. This marked a significant milestone in bilateral collaboration and introduced Taiwan Cinema to a broader audience in the Philippines. ➤ TFAI collaborated with FDCP to present two restored classics at the PeliKULAYa: International LGBTQIA+ Film Festival in July. (Courtesy of FDCP) FDCP is a national film policy agency under the Office of the President of the Philippines. Led by Chairperson and CEO Jose Javier Reyes, a renowned filmmaker, the institution oversees talent development, international promotion, film incentives, and the national film rating system across its various divisions. Established in 2011, the Philippine Film Archive (PFA) serves as the national institution responsible for preserving the country’s audiovisual heritage. A member of SEAPAVAA and an Associate Member of FIAF since 2020, PFA holds a collection of more than 31,000 items, including film prints, digital assets, and related documentation. In recent years, PFA has actively restored significant works such as Jaguar, ’Merika, Insiang, and Manila in the Claws of Light, many of which are now accessible to the public via FDCP’s streaming platform JuanFlix. ➤ Don Gervin Arawan, Head of the Philippine Film Archive (PFA), visited TFAI and toured the institute's facilities. (Courtesy of TFAI) During his visit to TFAI, Head Arawan toured the institute’s facilities and engaged in in-depth discussions on archival workflows and staffing, digital restoration methods, collection scale, and technical infrastructure. He expressed particular appreciation for TFAI’s well-equipped facilities and shared that their archive is scheduled to move into a new building next January. The two institutions also explored potential avenues for regular exchanges and future collaborative film programs. This visit offered TFAI valuable insights into the challenges faced by the Philippines in building a national film preservation framework and laid the groundwork for future regional cooperation in safeguarding audiovisual heritage. ➤ Don Gervin Arawan, Head of the Philippine Film Archive (PFA), engaged in discussions with TFAI Executive Director Iris DU and Deputy Director of Administration, LIN Ying-chih. (Courtesy of TFAI) TFAI has actively strengthened connections with international organizations such as FIAF and SEAPAVAA in recent years. Hosting the PFA Head further enhances opportunities for closer Taiwan–Philippines collaboration in preservation, research, and cultural exchange. -
MORETracing to Expo ’70 Returns Home for Its Taiwan Premiere! Iconic Star Judy ONGG Shines at the Screening, Surprised by a Newly Added 1960s Newsreel Showing Her at Age 15
Following the successful closing of the Osaka–Kansai Expo last month, Tracing to Expo ’70 (1970) —filmed on location at the 1970 World Expo—has officially returned from its original filming site in Japan to make its long-awaited Taiwan premiere. The Taiwan Film and Audiovisual Institute (TFAI) hosted the screening and welcomed the film’s leading actress, Judy ONGG, whose elegant appearance drew cheers from the audience. As a special highlight, TFAI screened a rare Taiwan Newsreel from its archival collection, featuring footage of ONGG returning to Taiwan from Tokyo nearly sixty years ago. A “Phantom Masterpiece” Rediscovered: Tracing to Expo ‘70 Captivates Japan Praised by Japanese media as a “Taiwanese masterpiece for the World Expo” and a phantom film, Tracing to Expo ’70 stirred a sensation in Osaka this summer. Tickets sold out instantly, and film enthusiasts around the world continued requesting encore screenings. Immediately after its world premiere at the Osaka Asian Film Festival, TFAI scheduled the film’s return to Taiwan—presented at TFAI, where the film’s digital restoration was completed.The screening invited the audiences to once again experience the vibrant charm of 1970. Minister of Culture LI Yuan attended the premiere to express his support. He noted: “Watching Tracing to Expo ’70 is deeply touching. It is more than a film but a distilled portrait of an entire era in Taiwan. Judy ONGG was one of the most beloved public figures of the time, and she embodies the spirit of 1970.” He also mentioned that earlier this year, the Ministry of Culture held a series of cultural events at the Osaka Expo that were warmly received. Many audiences hope to see these performances brought back to Taiwan. “I am delighted that Tracing to Expo ’70 is the first work to return home.” TFAI Chairperson Arthur CHU added: “The film’s screenings during the Osaka Asia Film Festival sparked enthusiastic responses from Japanese media and audiences alike. This once again proves that the collective memories preserved in an old film can transcend borders. We are not merely repairing individual frames but restoring the soul of an era.” He highlighted that the success of the Osaka premiere broadens our vision for promoting restored films in the future and marks a meaningful milestone for TFAI. ➤ TFAI hosted the Taiwan premiere of Tracing to Expo ’70. From left to right: TFAI Executive Director Iris DU, TFAI Chairperson Arthur CHU, Minister of Culture LI Yuan (also known as Hsiao Yeh), leading actress Judy ONGG, renowned photographer CHUANG Ling; and the film’s assistant director, LI Ying. (Courtesy of TFAI) Judy ONGG’s Appearance Brings the Premiere to Its Peak The presence of legendary star Judy ONGG, often celebrated as a “national treasure” of Taiwanese pop culture, sent the afternoon’s atmosphere into a joyful high. As a “secret surprise,” TFAI screened the archival newsreel “TV Celebrity Judy ONGG” (1965), can now be viewed online: https://tfaitw.pse.is/8cwfq2 Filmed on December 21, 1965, the one-minute reel shows ONGG, then a 15-year-old rising television star in Japan, being greeted by crowds of reporters upon her arrival in Taipei. She appears alongside Taiwanese film star CHANG Mei-yao, creating a rare and dreamlike moment in cinematic history. Moved by the footage, ONGG shared: “All the memories came back! I’m so happy that we can gather here today and revisit such joyful moments from the past.” She recalled filming experiences in Hokkaido: “Back then, Taiwanese people were crazy about Hokkaido, so our crew traveled there to shoot. I remember running in the snow in high heels! I’ve never done such a thing in my life, only because of this movie.” She expressed her gratitude to the audience and to TFAI for preserving so many recordings from her youth. “Like Tracing to Expo ’70, these images capture moments that can never be rewound. Because of that, they remind us to treasure every moment of the present.” ➤ Judy ONGG becomes emotional while watching the rare archival footage. (Courtesy of TFAI) Join Us for the Exclusive TFAI Member Screening on December 19 Fans wishing to experience the restored beauty of Tracing to Expo ’70 are invited to join the TFAI Member Exclusive Screening on December 19. For more information, please visit: https://tfaitw.pse.is/8cwftq