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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) -
MOREFour Landmark “White Terror” Films Including Super Citizen Ko and March of Happiness to Be Screened Free of Charge at TFAI on Peace Memorial Day
Peace Memorial Day is not only a public holiday—it is also an opportunity to step into history through cinema. To celebrate this year’s Peace Memorial Day long weekend (February 27-March 1, 2026), the Taiwan Film and Audiovisual Institute (TFAI) will present free screenings of four films centered on “White Terror”: WAN Jen’s Super Citizen Ko (1995); LIN Cheng Sheng’s March of Happiness (1999), set on the eve of Taiwan’s infamous February 28 Incident; Argentina’s The Trial (2023), which documents a critical moment of transitional justice in Latin America; and Brazil’s I’m Still Here, winner of Best International Feature Film at the 97th Academy Awards. Through these powerful stories that span centuries and borders, TFAI hopes to open up a space for more meaningful dialogue. Recent online discussions in Taiwan strongly recommend pairing a recent box office hit The Foggy Tale with Super Citizen Ko, the second installment in WAN Jen’s “Taiwan Trilogy.” Through fictional characters and narrative, Super Citizen Ko accurately recreates the climate of fear that gripped Taiwan in the 1950s. The protagonist, KO, is arrested by the Taiwan Garrison Command and subjected to brutal torture. Forced to confess, he implicates his fellow activist friend, CHEN, who is subsequently executed. On his way to the execution ground, CHEN raises his hands to form the numbers “two” and “one,” signifying Article 2, Paragraph 1 of the Betrayers Punishment Act—an iconic moment in the history of Taiwanese cinema that must be revisited each year on Peace Memorial Day. Directed by LIN Cheng-sheng, March of Happiness interweaves a fictional love story with the historical February 28 Incident. At the “Tianma Teahouse” café, a tender romance quietly blossoms between teenage troupe performers A Jin and A Yu. But just as they plan to leave home together in pursuit of a hopeful future, they become entangled in a clash between police and civilians over a crackdown on illicit cigarette sales, and are swept into the tide of history. Featuring an all-star cast led by LIM Giong and HSIAO Shu-shen, with Leon DAI, LUNG Shao-hua, CHEN Shu-fang, and Yeh Tien-lun in supporting roles, March of Happiness transports audiences back to the scene of the incident. The White Terror was not unique to Taiwan. In Argentina, notorious military dictators with blood on their hands were ultimately brought to justice within their lifetimes. Winner of the Grand Prize in the International Competition at the 2024 Taiwan International Documentary Festival, The Trial distills 530 hours of courtroom footage into a powerful chronicle of the 1985 trial, in which the newly elected civilian government prosecuted former military junta leaders and nine high-ranking military officers. Survivors and their families take the witness stand, trembling as they recount the disappearance of thousands, the rape of women, schools turned into torture centers, and the “death flights” in which victims were thrown from airplanes into valleys and the sea. More than 40 years later, from across the Pacific, we come to understand how the authoritarian structure of complicity behind South America’s indelible “Dirty War” took shape, and how transitional justice allows both the dead and the living to find a measure of peace. Following Central Station, Brazilian filmmaker Walter SALLES once again garnered Academy Award recognition with I’m Still Here. Amid the sunlit ease of beachside life and the laughter of her husband and children, Eunice believed her happiness would last forever. She never imagined that in 1971, during the sweeping purge of Brazil’s military dictatorship, her husband Rubens would be “forcibly disappeared,” upending her radiant life overnight. I’m Still Here portrays a wife, a mother, a woman bearing the weight of White Terror, resiliently holding her family together while continuing to offer love and hope to the next generation, inspiring audiences with her courage. All four films will be screened free of charge during the Peace Memorial Day long weekend. For more information, please visit the TFAI official website: https://tfaitw.pse.is/8qvc7n ➤ Super Citizen Ko uses fictional characters and narrative to accurately recreate the climate of fear in 1950s Taiwan. (Courtesy of TFAI) ➤ March of Happiness is headlined by an all-star cast. From left: LIM Giong, YEH Tien-lun, HSIAO Shu-shen. (Eagle International Communication Co., Ltd.) ➤ March of Happiness is set against the backdrop of “Tianma Teahouse,” the flashpoint of the February 28 Incident. (Eagle International Communication Co., Ltd.) ➤ The Trial distills 530 hours of courtroom footage. (Impronta Films) ➤ The Trial depicts South America’s indelible “Dirty War.” (Impronta Films) ➤ Brazilian director Walter SALLES won the Oscar for Best International Feature Film for I’m Still Here. (Hooray Films) ➤ I’m Still Here is set against the backdrop of the White Terror under Brazil’s 1971 military dictatorship. (Hooray Films) -
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)