Director｜Takahide Hori Japan｜2021｜115 minutes｜P｜color 2017 Fantasia Film FestivalSpecial Mention of Best Animated Feature Film
In a future where reproduction is no longer possible, a robot ventures into the underground world in search of a way to restore genetic propagation. Throughout the journey, he is continuously dismantled and reassembled, enduring countless trials yet still clinging to the hope of discovering the answer to life.
A classic yet archetypal story is presented in an unexpected way, blending the director’s signature dark humor with an expansive world-building approach, offering audiences a fresh and immersive cinematic experience. This stop-motion feature film was a solo endeavor by the director over seven years, expanding upon a previous post-apocalyptic adventure. Through an innovative approach to world-building and the depiction of characters as chimeric beings, the film creates a distinctive and humorous visual style. It was awarded Best Animated Feature at the 2021 Fantasia International Film Festival in Canada.
About the director
Takahide Hori is a Japanese animation director, artist, and sound designer, best known for his independently produced stop-motion film Junk Head. His previous work, Junk Head 1, was a short film that took him four years to complete and won numerous awards, including Best Animated Short at the Clermont-Ferrand International Short Film Festival in France and the Grand Prize for Short Film at the Yubari International Fantastic Film Festival in Japan.
Both films were entirely created by Hori himself, including editing, animation, scriptwriting, modeling, sound design, and voice acting. With high-quality animation produced on a low budget, his work has been hailed as a miracle in the world of independent animation.
Krzysztof Kieslowski was a Polish filmmaker and screenwriter born in Warsaw in 1941. He initially gained recognition for his documentary work, which focused on the struggles of working-class life, before transitioning to narrative filmmaking. His works, including the Three Colors trilogy and The Decalogue—inspired by the Ten Commandments—are regarded as masterpieces of cinema. Other notable films include Camera Buff, Blind Chance, and The Double Life of Véronique, earning him recognition at prestigious festivals such as Berlin and Cannes.
Kieslowski’s films delve deeply into themes of human nature, moral dilemmas, and fate, leaving a lasting impact on filmmakers worldwide. His influence extends far beyond Poland, securing his place as one of the most significant directors in film history.
Filip is an ordinary factory worker who buys
camera to capture the precious moment of his daughter’s birth. What he initially sees as a harmless pastime soon begins to reshape his life. As he observes the world through his lens, his perspective sharpens. His filmmaking talent quickly catches the attention of his factory’s management, who assign him to document company events—eventually leading to an invitation to a film festival. Moving from home videos to capturing stark realities, Filip becomes increasingly absorbed in his craft, unable to put the camera down.
Camera Buff received widespread acclaim at festivals such as the Polish Film Festival and the Berlin International Film Festival, propelling Kieslowski into the international spotlight. With its precise and unflinching cinematography, the film explores the delicate balance between artistic creation and moral responsibility. When the camera becomes a blade that cuts through reality, vision itself fractures—within the frame, does it offer a pure observation of the world, or is it the creator’s own sacrifice, leading to an entirely different story?
A transfer student with an Asian face and a mysterious background disrupts the mundane life of Maik, an outcast. He is shy, timid, unremarkable, and has no friends, no one is willing to sit next to him in the classroom. His biggest wish is to be invited to the birthday party of the belle, whom he has a crush on. However, when the invitation list is revealed, his name is missing. As another boring and lonely summer comes, the transfer student, Tschick, uses an astonishing way to get him into the party, allowing him to forget about his father, who might be having an affair, and his mother, who is being held for alcohol rehabilitation. This sets the stage for embarking on a life-changing road trip…
Adapted from the bestselling young adult novel Tschick, which has sold over millions copies, this film is a comedy that blends emotional depth with a social perspective, exploring themes of marginalization and identity –subjects that contemporary German director Fatih Akin is known for. Through the fusion of coming-of-age storytelling and road trip elements, the film unveils a fresh and unique take on these themes.
About the director
Fatih Akin, born in 1973 in Hamburg, Germany, is a director of Turkish descent. His 2004 film Head-On won the prestigious Golden Bear at the Berlin International Film Festival. Akin further cemented his place in the global film scene with The Edge of Heaven (2007), which earned him the Best Screenplay Award at the Cannes Film Festival, and Soul Kitchen (2009), which won the Special Jury Prize at the Venice Film Festival. Through these accolades, he has established himself as a major figure in international cinema focusing on tough social issues like immigration.
2022 Taiwan International Documentary FestivalAsian vision competition merit prize
2021 Toronto International Film FestivalAmplify voices award special mention
Unknown letters from a film academy whisper poetically with intimate emotions, becoming waves of resistance facing the underlying caste, religion and political conflicts in current Indian society.With student strikes erupts with anxiety, doubt, fear, and love during these decade.The film attempts to capture personal experience to reflect states of Indian society. Everyday is political, and we are determined to wave the banners of equality and love.
About the director
Payal Kapadia, an Indian director born in Mumbai, graduated from the Film and Television Institute of India (FTII). Influenced by Portuguese director Miguel Gomes, Tarkovsky, Akerman, the New Wave cinema around the world and experimental film, her feature film in 2024 All We Image as Light won the Grand Prix at the Cannes Film Festival. A Night of Knowing Nothing is her first documentary feature film.
Three astronauts arrive on the silver globe, where they encounter the local inhabitants while exploring a new world. Are they gods or mere mortals? Do they bring religion or tyranny? This highly stylized epic sci-fi film uses the genre to navigate the dark side of human nature.A barbaric ritual.A bloody war.It metaphorically critiques the absurd state of Polish society just before the collapse of the Soviet Union.
Filmed between 1976 and 1977, the project was nearly completed before being banned and seized by the Polish authorities for destabilizing the regime, preventing its completion. The film was shot in locations ranging from the Balkans, the Caucasus Mountains, to the Mongolian Gobi Desert. After a 10-year hiatus, additional footage was filmed in the streets of Poland, with the director narrating the missing footage.
About the director
Andrzej Zulawski, born in Poland, studied film in France and was an assistant to Polish director Andrzej Wajda. His works Love is the Most Important Thing and Possession have become cult classics. His narratives often oppose mainstream consumerism, while simultaneously being persecuted by the communist regime, which led him to live in exile. On a Silver Globe is adapted from his uncle's science fiction novel The Lunar Trilogy.
In Paris in 1962, two young girls from different backgrounds met and became friends. 17-year-old Pauline is a middle-class, rebellious and passionate man who dreams of becoming a singer; Suzanne, a 22-year-old single mother from a rural area, has a strapped financial situation but has an unplanned pregnancy. Faced with an unbearable reality, Suzanne sought a way to have an abortion with Pauline's help. The two briefly met and reunited 10 years later at a demonstration for women's right to abortion.
Agnès varda depicts the growth and struggle of women from a delicate perspective, and shows the awakening and change under the French feminist movement through the life trajectories of Pauline and Suzanne. As Simone Beauvoir said, "One is not born, but rather becomes, woman."
Agnès varda, was a French film director, is one of the representatives of the Left Bank of the New Wave, known as the "The Grandmother of the French New Wave", and plays a pivotal role among female directors. Originally a photographer before her debut, her film work focused on documentary realism, expounding on women's issues, and was good at intuition and feminine shooting, and her debut film "La Pointe Courte" in 1955 responded to the times and was regarded as a pioneer of The French New Wave.
1965 notebooks on cinema(Cahiers du Cinéma) annual top 10 films
1965 British Academy Film Awards - Sutherland Award
Years after their last meeting, Ferdinand and Marianne reunite, only to go on the run after a murder. As they flee, words like freedom, love, and life resurface, revealing their elusive nature. Their journey becomes a search for meaning—questioning speech, feeling, and ultimately realizing their fate was sealed from the start.
Pierrot le Fou, Jean-Luc Godard’s tenth feature, breaks from traditional storytelling with a fragmented, dreamlike flow of images and dialogue, abandoning cause-and-effect logic. Visually, it bursts with vivid primary colors—red, blue, and yellow—marking a shift from Godard’s earlier black-and-white aesthetic to a painterly style that shaped his later works. The film was France’s official submission for Best Foreign Language Film at the 38th Academy Awards and earned critical acclaim, including a spot in Cahiers du Cinéma’s top ten films of 1965 and the British Film Institute’s Sutherland Trophy.
About the director
Jean-Luc Godard was a revolutionary French filmmaker and a leading figure of the French New Wave. Renowned for his radical approach to cinema, he consistently pushed the boundaries of storytelling, challenging traditional narrative structures and cinematic conventions. His debut feature, Breathless (1960), cemented his place in film history, and over the next seven decades, he directed more than 140 films, winning numerous accolades and leaving an unparalleled legacy in the world of cinema.
On a hot afternoon, an office worker drove his wife out of the house, and accidentally killed a metal maniac with an "iron fetish".
Metalized bodies, crazy slashing scenes, and embodied spiritual desires pervade this technological world and continue to infect and spread, giving the greatest sensory stimulation, and all the suppressed anxieties and fears will be released, or merged with them, or devoured, in what way should we deconstruct the world of cyborg's lifeforms?
About the director
Shinya Tsukamoto, a Japanese film director, screenwriter, and actor, is known for his unique shooting style, and his masterpiece is also his debut work "Iron Man", which he single-handedly wrote, directed, acted, art, photography, lighting and editing. As an actor, he also starred in "BULLET BALLET" (1998), which he wrote and directed, and participated in the international co-production of the historical film "Silence" (2017).
In a futuristic metropolis, the Genom corporation builds a biological network by modifying red blood cells to harvest and sell human orgasm data. Meanwhile, in a desolate wasteland, an abandoned bioroid, Reiko, undergoes radical transformations, evolving into "UKI"—a virus that transcends its mechanical existence to resist the city's oppressive forces.
Blending sci-fi, queer aesthetics, and cyberpunk influences, UKI is avant-garde filmmaker Shu Lea Cheang’s expansion of the world introduced in I.K.U. (2000). The film explores the body’s alienation in a posthuman era, using surreal imagery to weave a poetic meditation on identity, data, and power.
Beyond its futuristic setting, UKI engages with contemporary struggles, referencing the 2019 Hong Kong Umbrella Movement, the 2020 murder of George Floyd, and the Black Lives Matter movement, turning its dystopian vision into a reflection on resistance and justice.
About the director
Shu Lea Cheang is a Taiwanese multimedia artist whose works span internet installation art, video, and film. She explores contemporary issues such as technology, sex, and politics, continuously breaking and constructing spaces for dialogue. Her works encourage viewers to rethink the structures of current societal norms.
約Jane St. Art Center、法國La Porte Peinte、冰島Skaftfell Art Center駐村藝
術家。目前就讀美國印地安藝術學院創意 寫作研究所。
第七大陸
Director｜Michael Haneke
Austria｜1989｜104 minutes
1989 Locarno International Film FestivalSpecial Jury Prize
The Seventh Continent portrays a seemingly ordinary middle-class family, living a routine life day after day. However, beneath the silent repression and emotional detachment, they gradually move toward an irreversible decision. The habitual breakfast conversations, the mechanical rhythm of work, the routine shopping trips — when daily life becomes a series of ritualistic actions, does life still retain its weight?
This film marks the beginning of Haneke’s “Glaciation Trilogy”, adopting a detached perspective and a subtle narrative, allowing the audience to witness the transformation of a family. Without sentimental buildup, the movie uses restrained and composed cinematography, letting the mundanity of everyday life exude a faint yet lingering tension.
About the director
Michael Haneke is an Austrian film director known for his stark and socially critical works. His cinematic style is rational and restrained, often exploring themes of alienation, violence, and the disintegration of human relationships in modern society. Haneke frequently employs long takes, understated storytelling, and sudden moments of shock to challenge the audience’s perception. A two-time Palme d’Or winner at the Cannes Film Festival, his notable works include The White Ribbon (2009) and Amour (2012), establishing him as one of the most influential European directors of our time.
About the director
Emir Kusturica, a Serbian film director, is renowned for his films characterized by magical realism. He has won the Palme d'Or at the Cannes Film Festival twice. Kusturica's works blend absurdity, humor, and historical reflection, with *When Father Was Away on Business* (1985) and *Underground* (1995) being among his most notable films. His storytelling often features a carnivalesque style, enriched with vibrant musical elements, showcasing a distinctive narrative aesthetic.
Axel returns to his hometown for a wedding but unexpectedly becomes entangled in a mother and daughter’s conflict. The mother, who fantasizes about flying, dreams of boarding a plane to escape the barren desert, while her daughter, obsessed with death yet longing for immortality, blames her mother for everything and remains trapped with her. Meanwhile, his friend is lost in dreams of stardom, shouting movie lines that no one understands. Axel appears to navigate the chaos calmly but is, in reality, deeply immersed in his own fantasies, becoming an all-knowing fish. They long to escape their reality but remain powerless to break free. Their dreams, as fragile as a red balloon, seem destined to burst—only the flounder in the dream is free to drift through the sky.
This film emerged from an unexpected collaboration between director Emir Kusturica and Columbia University student David Atkins. Through surreal and dreamlike imagery, it explores characters struggling between their aspirations and harsh reality, drawing the audience into a grand, fantastical journey. The recurring image of a flounder drifting through the sky stands as one of the most bizarre and mesmerizing cinematic moments of the late 20th century.
2025/5/07（三）19:00
藝中視聽館 導演｜拉斯·馮·提爾
丹麥、德國、法國、義大利、瑞典、波蘭
2009｜103分鐘｜限制級｜彩色
2009 坎城影展 最佳女演員獎
2009 歐洲電影獎 最佳攝影獎
2010 丹麥電影學院獎
最佳導演獎、最佳攝影獎、最佳視覺效果獎、
最佳音效獎
2010 丹麥影評人協會獎 最佳女主角獎
因喪子而深陷於悲傷的妻子，在亟欲
治療她的丈夫陪同下來到了遺世而獨 立的伊甸園。過於理性的丈夫渴望成
為基督帶領她回復正常，然而妻子卻
被迫成為撒旦，在面對自己最深層的 情慾與殘暴後做出選擇。
號稱21世紀最具爭議電影，以混亂與
超現實的畫面重構觀眾對男與女、情
與慾、基督與撒旦的認知，挑戰道德 尺度。
撒旦的情與慾
About the director
Lars von Trier, a Danish director and screenwriter, co-founded the Dogme 95 movement in 1995 to return to the essence of cinema and promote avant-garde filmmaking. His works are marked by a distinct personal style, employing diverse techniques while frequently challenging the audience's moral boundaries and perceptions.
He has received numerous accolades at the Cannes Film Festival, winning the Jury Prize for Europa (1991), the Grand Prix for Breaking the Waves (1996), and the Palme d'Or for Dancer in the Dark (2000).
A wife, deeply engulfed in grief after losing her child, arrives at a secluded and otherworldly Eden, accompanied by her husband, who is desperate to heal her. The overly rational husband longs to become a Christ-like figure, guiding her back to normalcy, while the wife is forced into the role of Satan. Confronted with her deepest desires and innate brutality, she must make a choice.
Known as the most controversial film of the 21st century, it reconstructs the audience’s perception of man and woman, love and lust, Christ and Satan through chaotic and surreal imagery, pushing the boundaries of morality.
Dušan Makavejev was a renowned Serbian film director and screenwriter, known for his pioneering works in the Yugoslav "Black Wave" film movement of the late 1960s and early 1970s. His films were boldly experimental, blending documentary elements, aesthetic collage, political satire, and themes of sexual liberation, challenging the ideological and censorship norms of his time. Among his works, his most internationally influential film, W.R.: Mysteries of the Organism (1971), employs nonlinear storytelling and multilayered imagery to explore the intersections of politics, psychoanalysis, and bodily politics. His unique visual language and critical perspective profoundly influenced the development of both art cinema and political filmmaking, establishing him as one of the most significant independent filmmakers in world cinema history.
有機體的秘密
W.R.: MYSTERIES OF THE ORGANISM
minutes
R｜color
——
1971 Berlin International Film FestivalSpecial Mention of FIPRESCI Prize
1971 Chicago International Film FestivalBest Feature of Gold Hugo
In a closed, communist-dominated Yugoslav society, the revolutionary Milena supports the theories of Wilhelm Reich. She believes that a true revolution must begin with the liberation of the body, and that only through sexual autonomy can people achieve genuine independence. Although Reich had long been prosecuted for his ideas, Milena remains committed to advancing this revolution of both thought and the body. However, when she falls in love with a Soviet figure skater, who is deeply loyal to communism and views sex as an intensely private matter, the question arises: can this relationship fulfill the ideals of liberation and independence she so strongly believes in, or is it meant to become yet another irreversible tragedy?
