Lee Kang-sheng
Asheng, once a gang member of the Zhongshan District, was sent to jail for 12 years after saving his friend Shaou. He is released and returns to Linsen North Road, his old turf, finding it familiar yet perplexing after being away for so many years. Shaou is now a mob boss with his own turf. When the son of Seagull’s patron, Mr. Xiao, is murdered, the evidence points to up-and-coming mobster Monkey. Shauo tries to ambush Monkey and fails, getting shot by the drugged up gangster instead. Asheng, who initially refused to help Shaou, is now filled with rage and decides to avenge his friend.
A cold, hard-nosed lawyer, Zhang, discovers that his past client, Tang, is involved in yet another case of sexual assault. Thirteen years ago, Zhang was a rookie and mentored by a senior lawyer, Tu. Young and ambitious as Zhang was, his outstanding performance successfully helped Tang exonerated from the charge. However, the brutal cross-examination on the victim inevitably became his nightmare. After so many years, tormented by guilt, Zhang finally has the opportunity to atone for his mistakes and avenge the girl he loved. Challenged by Tu and Tang, he decides to pursue justice at any cost.
Chen’s daughter is returning from the UK after her university graduation. On the weekend of her return, Chen accidentally learns her secret when they are hijacked by two ruffians.
Somewhere on the coast of Taiwan is Hotel Iris, a mouldering seaside establishment run by a cold and thrifty Japanese woman (Nahana) and her lonely half-Taiwanese daughter Mari (Lucia). One night, Mari hears the cries of a woman from the upper floors. Heading up to investigate, she witnesses a distraught woman in a red camisole dress escape an impeccably dressed but violent man (NAGASE Masatoshi) whose cold voice is entrancing. Mari’s initial shock turns into a strange fascination which drives her to follow the man to discover more about him. He is a translator who lives on an isolated island one can only reach by boat and rumours swirl around him and recent murders. The closer she gets to the man, the more a hidden layer of Mari’s personality awakens as she allows herself to be engulfed by his strange passions…
Ximending was once the trendiest area in Taipei, and it's also where Kang-sheng Lee's first film was shot. Twenty years ago, director Ming-liang Tsai asked Lee if he wanted to be in his film, and Lee's answer changed the course of his own life forever. Now Lee returns to where his career began to shoot a film about himself.
A lurid fantasy of wounded flesh and accursed lives that entwine and separate in a building run by a landlord (Simon Yam), who seeks to find a particular type of tenant for the property he inherits from his relatives. Driven by his desire of peeping into the darkest aspects of human nature, what he sees through the eyes of the omnipresent cameras ain’t pretty… but it gives him the wry, abject satisfaction of a dark god lording over and leering at the souls of the damned, his imagination hungering toward them.
A documentary about Nogami Teruyo, who for nearly half a century stood by Akira Kurosawa as a screenwriting collaborator, a script supervisor, and a companion.
A Japanese porno actor, HIV positive, commits suicide. Natsumi, a popular porno actress who has often worked with him, learns that she is also HIV positive and becomes desperate. She receives mysterious post cards at times from Taiwan, and decides to go to Taiwan to solve the mystery. The latest film by director PAN Chih-yuan of “The Touch of Fate”, which brought him multiple nominations at the Golden Horse Awards. LEE Kang Sheng, Golden Horse Awards’ Best Actor winner, plays the leading role. Co-star HATANO Yui gives a wonderful performance in her debut feature.
A new entry in the Walker series. 'No No Sleep' is set in Tokyo, where Tsai Ming-liang met with Ando Masanobu.
Lush jungle and a building in ruins are the ideal stage for a film-confession that defies storytelling and goes beyond conversation on cinema. Tsai Ming-Liang and his actor Lee Kang-sheng confess and put on stage a pièce in which attention and slowness are in tune with the rhythm of memory. The unveiling of Tsai Ming-liang’s filmmaking: from Stray Dogs to the most intimate notes of the director-actor relationship.
A father and his two children wander the margins of modern day Taipei, from the woods and rivers of the outskirts to the rain streaked streets of the city. By day the father scrapes out a meager income as a human billboard for luxury apartments, while his young son and daughter roam the supermarkets and malls surviving off free food samples. Each night the family takes shelter in an abandoned building. The father is strangely affected by a hypnotic mural adorning the wall of this makeshift home. On the day of the father's birthday the family is joined by a woman - might she be the key to unlocking the buried emotions that linger from the past?
A Buddhist monk walks barefoot and incredibly slowly through Marseille – so slowly, that his progress is barely perceptible and he becomes a calming influence in the midst of the town’s goings-on.
Walking on Water sees Tsai Ming-liang returning with the Walker series to his hometown of Kuching in Malaysia.
In this omnibus film, six directors from the region each reflect on the Chinese diaspora. Thai filmmaker Aditya Assarat describes a meeting in Thailand between Paula and her friends, who have Chinese roots, with her cousin Mumu, who was born in China; Royston Tan from Singapore tells of the special meaning that making the traditional Popiah dish has for a Chinese family; Midi Zhao from Myanmar follows the death of a grandfather surrounded by Chinese customs in a village in Myanmar; Sun Koh from Singapore makes a small-scale comedy about the commercialisation of the local radio station, influenced by mainland China; Tan Chui Mui from Malaysia composes a poetic, visual reflection on being an outsider and wandering; and Tsai Ming-liang, also born in Malaysia, observes the seventh-storey apartment in which he grew up as a child.
A superb package of shorts by four leading East Asian directors: Ann Hui on a male-to-female sex change, Kim Tae-yong on an emotional imposture, Gu Changwei on pregnancy in China and Tsai Ming-Liang on time and the city of Hong Kong.
A continuation of Tsai Ming-Liang's Walker series, featuring Lee Kang-Sheng as a barefoot monk who walks very slowly.
The title of the François Lunel film is the Buddhist proverb concluding by: "all is but illusion". His movie draws the Tsai Ming-Liang's face during the shooting of his movie Visage, which itself is also a movie within a movie.
Taipei 24H divides 24 hours in Taipei into 8 shorts. It opens with Cheng Fen-fen's upbeat and comedic "Share the Morning", and ends with Lee Kang-sheng running the final leg of this relay with "Remembrance" at 4am. Well-known director Tsai Ming-liang makes a rare appearance visiting a late night coffee shop. Taipei 24H is a contemporary urban chronicle of a city rarely at sleep.
To celebrate its 60th anniversary, the Cannes Film Festival invited around thirty filmmakers to create three-minute short films to compose the collective film Chacun son cinema. Tsai Ming-liang proposed a twinned piece with his feature Goodbye, Dragon Inn, an exploration of the movie theater as a public space and collective experience. Shortly after, Tsai put on this new version of the piece, twenty minutes longer, which was presented at the Venice Biennale.
Ah Jie lost everything in the stock market due to a severe economic crisis. He spends his days in his sealed apartment, smoking joints and looking after the marijuana plants that he secretly grows in his wardrobe. In desperation, he calls a suicide helpline and gets to know Chyi, whose sweet and gentle voice causes him to fall in love with his fantasized image of her. He tries to ask her out but is repeatedly rejected. He begins projecting his fantasy of Chyi on Shin, the new girl working at the betel nut stall downstairs. Shin is always sexily dressed in order to lure male customers. Ah Jie becomes closer to her and soon the two of them sink into a world of erotic and psychedelic pleasures. At the same time, Ah Jie begins to stalk Chyi.
Forest fires burn in Sumatra; a smoke covers Kuala Lumpur. Grifters beat an immigrant day laborer and leave him on the streets. Rawang, a young man, finds him, carries him home, cares for him, and sleeps next to him. In a loft above lives a waitress. She sometimes provides care and attention. More violence seems a constant possibility. They find another man abandoned on the street, paralyzed. They carry him. While no one speaks to each other, sounds dominate: coughing, cooking, coupling, opening bags; music and news reports on a radio, the rattle and buzz of a restaurant. It's dark in the city at night. We see down hallways, through doors, down alleys. Who sleeps with whom?
Hsiao-Kang, now working as an adult movie actor, meets Shiang-chyi once again. Meanwhile, the city of Taipei faces a water shortage that makes the sales of watermelons skyrocket.
Drama about a young boy who suffers from a rare deficiency disease. The medicine he has to take every day has the side effect of making him reek of ammonia. The consequent bullying and ostracism by schoolmates exacerbates the boy's sense of victimhood. His mother, meanwhile, runs a help-line for parents with comparable problems.
On a dark, rainy night, a historic and regal Taipei cinema sees its final film: 1967 martial arts feature "Dragon Inn". As the film plays, the lives of the theater's various employees and patrons intersect, and two ghostly actors arrive to mourn the passing of an era.
Human shortcomings in the pursuit of an idol. Two film school students travel to interview Taiwanese film director Tsai Ming-liang and actor Lee Kang-sheng in Oslo.
A girl (Shiang-chyi Chen) looks for a street vendor in Taipei. But she can't find him since the Skywalk is Gone.
When a young street vendor with a grim home life meets a woman on her way to Paris, they forge an instant connection. He changes all the clocks in Taipei to French time.
Hsin-He, a high school sophomore who can get along just fine on her own, lives with her father. At school, the days pass slowly by, until one day, she is assigned to be the student teacher. Since she loaths math, her teacher orders Ke-Lei, student teacher from another class, to tutor her.
Ordinary Heroes is a narration about the life stories of an advocate, a prostitute, a social worker, and a priest during the social movements from 1970s to 1980s in Hong Kong. The film is based upon true stories.
In the final days of the year 1999, almost everyone in Taiwan has died from a strange plague that ravished the island. Supposedly spread by cockroaches, the disease sends its victims into a psychosis where they act like the insects and eventually die. The two protagonists live In a crumbling apartment building right above and below each other. The woman is on the lower floor, and the pipes above her apartment are leaking fiercely, threatening to destroy her food supply, not to mention her sanity. She calls a plumber to go check it out, and he accidentally pokes a hole through the floor of the man's apartment. The two have never met before, and they come into contact through the hole.
With a singular voice that distinguishes him from his New Taiwan Cinema contemporaries, Lin Cheng-sheng adds to his brief, but already remarkable, filmography with Sweet Degeneration, his third film in two years. As with A Drifting Life and Murmur of Youth, Lin’s new film delicately unfolds, gradually building to a climax of stunning emotional reverberations. Drawn from a particularly painful episode in the director’s past, Sweet Degeneration delves into the uneasy bonds a brother and sister have with each other and the people around them.
After his wife dies during childbirth, Ku-cheng leaves his children behind in their rural village while he finds work on a construction site in the city. He develops a relationship with a widow but despite their intimacy, he refuses to remarry.
Three lonely young denizens of Taipei unknowingly share an apartment: Mei, a real estate agent who uses it for her sexual affairs; Ah-jung, her current lover; and Hsiao-ang, who's stolen the key and uses the apartment as a retreat.
Tsai interrupted his pre-production for The River to make this pioneering documentary for Taiwan's nascent AIDS-awareness campaign. Ignoring instructions to 'play down the gay angle', he centres the film on his own very candid conversations with two HIV+ young men. Sadly the identities of the interviewees have to be concealed, and so the freewheeling camerawork focuses most often on Tsai himself; but the sense of rapport between the director and his 'new friends' is palpable and very moving, even to Western viewers already only too familiar with these issues.
Defying his parents, disaffected youth Hsiao Kang drops out of the local cram school to head for the bright lights of downtown Taipei. He falls in with Ah Tze, a young hoodlum, and their relationship is a confused mixture of hero-worship and rivalry that soon leads to trouble.
Rescue member Ajie and his companions rescued a reef tanker in the storm, but met the captain who was stubborn and unwilling to give up. At the same time, a dark shadow haunted the deep sea and dragged everyone into the sea. From then on, the surviving Ajie, bearing the shadow of his colleagues' deaths, became decadent and disheartened. Many years later, Ajie overcomes the shadow and boards a fishing boat again. They rescue Xiaojing, who had fallen into the sea after his yacht overturned. Once onboard, things start growing strange. When the trapped people face the storm's severe test, they find the most dangerous thing is far more than this. There are unknown creatures coveting under the water. The savage people must put aside their prejudices and work together to survive.
While he was in Macau Pan Yiming unexpectedly receives a will from his father. They haven't seen each other in 30 years, still father left Pan Yiming with a huge hesitance, asking him to attend the funeral in order to inherit it. Pan Yiming returns to the small village in southern China, where he founds out his former lovers, daughters he has never met, and some residual memories and intricate secrets.
