(M)OTHER

In 1987, as martial law ends in Taiwan, Jia-han and Birdy fall in love amid family pressure, homophobia and social stigma.

When the 26-year-old Civics teacher, Kevin, openly voices his stance on marriage equality at school, he stirs up a storm. His being madly in love with an HIV positive man doesn't sit well with all the people around him. When a rumour breaks out about his HIV status, he is forced to make choices no one should have to.

Four individuals in different parts of the world have one thing in common - a 100 US Dollar Bill

Set after the Umbrella Movement in Hong Kong, Huang moves to Taipei but becomes ensnared in quarantine and grapples with the loss of liberty. Meanwhile, Kim's pursuit of happiness leads her into a mess of forbidden love.

A Japanese boy returns to his late father’s hometown in Taiwan, where tea becomes the bridge between memory, grief, and newfound family.

Two years post heart transplant, Ah Xun remains unable to shake off the gloom cast over his renewed life. First, there is a house fire; then, an unprecedented pandemic breaks out. Retreating to his grandfather’s home, Ah Xun finds himself persistently haunted by a string of unfortunate events. He is faced with an ex lover’s return, an encounter with the mixed-race sibling neighbours, the harrowing news of his mother’s cancer, his sister’s nervous breakdown, a friend’s drug issues, and now, the news of his grandfather testing positive for the new disease.

Han-xing is a roaming singer, nicknamed Jay Chou of a temple fair, always performing on stage trucks. When he meets a boy with the Tourette syndrome named You-en, connected by fate, they go on a trip to find their true selves. The stage truck is their haven. Music heals their minds. Han-xing teaches You-en to overcome difficulties and recover himself during the journey. This is a story about gaining courage and love. We want to dedicate it to all lost souls.

With a week before final exams and summer vacation, a substitute teacher must prove himself worthy of rehiring.

Through the experiences of a new actor during filming, "Abyss of the Script" explores themes of reality versus illusion, inner trauma, and self-redemption.

Amidst the scorching rural countryside, among the neighbors, her mother-in-law, and the sound of chickens. Chen Wen-yi is the new one in town, a wife, a daughter-in-law, and perhaps in the future, a mother. However, will there finally be a moment when she can purely be herself?

Wai has been living with her father David ever since her mother abandoned them. Wai always compromises with David in order to deal with the fact that he overly controls her. They rely on each other, but they have a love-hate relationship. David broke his leg from an accident at a construction site. He intentionally concealed his recover details to the social worker, in order to get compensation payments. One day, the social worker paid them a visit. A stormy conflict between the father and the daughter had just begun.

A skilled locksmith, gifted with the ability to open any lock, yet he is unwilling to return home. The hostess he pursues has no intention of continuing to keep him company. Facing a profound sense of emptiness, he has turned himself towards another rugged path.

Ah-Fu, burdened with overwhelming debt, moves into a container home deep in the woods with his nine-year-old son, Wei-Wei. Together with his girlfriend Jing-Wen and her seven-year-old daughter Huan-Huan, this makeshift, struggling family does their best to get through each day. Though life is poor, these small, fleeting moments gradually gather into a warm current of memories in the child’s heart. Years later, the container home they once lived in appears in the news. Wei-Wei is drawn back to those memories—Ah-Fu’s disappearance, Jing-Wen leaving without a word, a rusted biscuit tin, and a set of unclaimed human remains.

Nineteen-year-old Yi-Xin has been raising her younger brother Chen alone. One day, her father’s former mistress leaves a young girl named Xin-Fang in her care. As the days pass, the three begin to form a bond—one that is tender, fragile, and far more complicated than Yi-Xin expected.

What haunts us is not only death, but aging. Pei-Hua is drawn like a blurred sketch—gray, undefined, embodying the quiet experience of a woman growing older.Mothers often remain fixed in place, becoming a point of reference for their daughters’ journeys. Each of us carries a “carry-on”—unfinished burdens or lessons meant to be faced in this life. When we finally leave, do these carry-ons remain? In the film, a fire becomes a ritual of release, a way of saying goodbye. Life is rarely pure joy or sorrow, and The Carry-On is no exception.

Wu Ziyan lives in Zhonglin Village, a place engulfed by industrial zones, together with her mother who suffers from mental illness. When the village faces relocation, Ziyan sees a glimmer of hope for a new life, but she is also torn by inner conflict. A brief trip with her boyfriend becomes a turning point—she leaves her mother alone at home… but where will everything lead?