*With after-screening talk. 

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Border (Preview Screening)

2018 Cannes Film Festival, Un Certain Regard Award

Napping Kid

Demanding just $190,000 worth of ransom, K Kidnapper is on the move. What secret lies behind the mystery?

A Family Tour (Preview Screening)

“The Mother of One Recluse” was the work of Chinese film director Yang Shu. She made the film five years ago, and in doing so offended the Chinese government. Since then she has been forced to remain in exile in Hong Kong. Her mother who lives in Sichuan has had a relapse of her stomach cancer from years ago, and needs to undergo an operation imminently. She wishes to see her daughter and grandson, having only known the latter via internet chat. Therefore, Yang Shu takes the opportunity of a film festival event to go with her husband and son to Taiwan to meet her mother, whom they have arranged to meet when the latter is there on a mainland company leisure tour. To ensure this family reunion can take place under the strict control of regulated schedule by the Chinese tour company, the young family checks in to the same hotel, and follows the tour group to the various scenic spots they visit.

3 Faces (Preview Screening)

Iran’s Jafar Panahi (Taxi) continues to courageously defy the powers that be with this one-of-a-kind road movie, the filmmaker’s fourth film since he was slapped with a 20-year filmmaking ban in 2010. Behnaz Jafari (playing herself) receives a disturbing video from a distraught young girl from the countryside whose parents forbid her from becoming an actress. Worried for her well-being, Jafari asks Panahi (also playing himself) to accompany her on a search for the girl. Once again blurring the line between fact and fiction, Panahi’s road movie is a fascinating and introspective contemplative of sexism, oppression and censorship in contemporary Iran.

Busan International Film Festival

i've got the blues

Does a person need nobility of the soul to be a great artist? Renowned HK artist Wong Yan-kwai says, "I'm a born painter, so I paint.” His famous line is: When you are used to poverty, you don't feel poor. In the interaction of Wong Yan-kwai and Director Angie, sparks and arguments, egos and humility, love and betrayal, and human complexities surface.