This is an image of a family. Through the memories of many people, it traces the growth, migration and different life experiences of several generations of the author's family. It shows the destiny of ordinary people and their inner scenery in social transformation. Each…
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This is the fourth film in my Zoujiacun series within the Folk Memory Project. In 2013, I came back to my village and faced the trash all over the village. The children and I tried to improve the environment of our village. This was a tough fight against the trash and ideas of villagers. I felt like that the trash was in my heart. The 95-year-old grandma Sha and her 49-year-old son Xizhu, their lonely solitary life is also in this film. This film is about the progress that I fight with myself.
This is my fifth time coming back to my own village, where I was born and brought up. After I graduated from college, when I was staying in my village, I was always suspected and judged by the village people. Xizhu grandpa was called ‘fool’ by other villagers, and Zengxiang aunty was looked down by others. They come into my life, and I stayed with them. Their naïve and strange thought made think about my village in a new way. In this quite ‘normal’ village, who are normal people? In those normal people’s eyes, am I another fool of this village?
In the autumn of 2010, the poet Xiaozhao set off from Beijing and took a national tour of his personal poem collection "My Hope is on the Road" printed at a print shop. All the way up and down, full of ambition. Photographer Zhuang Ruijie went to Guangdong halfway to shoot. He recorded a trip to Guangzhou, Shenzhen, Chengdu, Shaanxi Shanyang, Huashan, Zhongnanshan, Xi'an and returned to Beijing for about 15 days.
“My Life Against Taiwan Sotofuku – 1891~1931” is Taiwan’s first biographical animated documentary. The film combines animation, archival photos, footage, and sound theater to recreate the heroic epic of CHIANG Wei-shui, the “the Savior of Taiwanese People,” during Japan’s colonial rule of Taiwan. Through first-person flashback narrations, Taiwan’s pioneer revolutionary CHIANG Wei-shui tells the turbulent tale of the rise and fall of Taiwan’s non-violent anti-Japanese movements, as well as a lifetime of remarkable resistance against Taiwan Sotofuku (Japan’s colonial government). Cast
This film mainly records the story of two adolescent children receiving primary education of Peking Opera in Shanghai Opera School in a documentary form. As they are in their adolescence, they gradually form their own plans and ideals for the future. On this unusual learning path, they face the problem of choice between reality and ideals, and gradually learn to accept and grow up.
"Mazu" or "The Sea God" has been the most important religious belief of ordinary people in my hometown for four hundred years. Along the coast of China and even in the Nanyang region, there is at least one temple dedicated to Mazu in various seaside cities-this geographical and historical distribution coincides with the contemporary economic or industrial area of Chinese society. It is frustrating that rapid economic development has led to global warming. The factories located on the coast of southern China from all over the world will eventually cause flooding and inundate these temples dedicated to Mazu. This is indeed a very ironic discovery for our civilization, "We", not only Chinese or all human beings, now or in the past, how can we Chinese avoid this upcoming tragedy?
Scars, which are unfortunate or unexpected results, are also signs of healing. This new connective tissue replaces the process of injured tissues, and at the same time it becomes a metaphor for the pain and frustration of life: the sadness of the body, the union of pain... In short, scars have become a proof, a proof of existence, a proof of alive, a proof of pain, and a proof of a certain age. Beginning in 1949, in this vast land, these various scars, these healing marks, patterns, sad shapes, bring personal memories, collective pains, the marks of history, and come together Gaze, the meaning of the record. This film is the first part of the "Scar" project, the story of 110 Chinese scars.
The baby is a temporary floating population. He works diligently, from a small restaurant owner to a tea shop manager to a bar manager. This film records the survival state of children centered and gay comrades: trivial, messy, boring, and entertaining themselves. The camera calmly captures every bit of their daily life for more than two years, and as time goes by, the changes the baby presents are more ordinary. The film calmly explains the relationship between "comrades" and "society", and the various small details interpenetrated in the film also metaphorically reflect the changes of today's society
