Poverty
42 films
Game Boy
Growing Pains
3 Generations 3 Days
Vestiges of My Past
Come, the Light
無法無家
Ròm
A Little Circus
奇妙現場之旅
別
The Woman from Myanmar
Kaohsiung City, Yancheng Distric, Fubei Rd., No.31
Less Than
Red Persimmon
A Rolling Stone
Sorry We Missed You
Loving Vincent
Forward
The Lucky Woman
Between the Stars and Waves
Spotlights
Under the Ground
Unheard wishes. Unanswered cries. “Who cares? We’re just the ones left behind.” In the margins of society, lives unfold far from the spotlight. This is an invitation—not to save, but to witness. To step into the shadows, and truly see.
K Series
In response to the partial reopening during the 2021 pandemic, the Kaohsiung Film Archive launched the “K Series” project—a collection of ultra-short films titled with the letter “K.” The “K” stands for both Kaohsiung and the spirit of “K.O.”—knocking out all restrictions and limitations brought by the pandemic. Shot entirely in Kaohsiung and produced in less than two months, these short films overcame countless obstacles during the COVID era. Each bite-sized story bursts with creative power, reflecting the life struggles five emerging directors sought to break through—be it the fading traces of the old city, familial bonds in a movie theater, generational conflict between mother and daughter, the desolate search for queer desire in an apocalyptic world, or the vicious cycle of gossip and rumors in the internet age. With each story shaped by a distinct directorial voice, the “K Series” showcases the boundless creative possibilities that emerged in the shadow of a global crisis.
《熱帶魚》：現實逼著長大以前，那庇護你的鹽分土壤
說起來《熱帶魚》的故事非常簡單。兩個被綁架的小孩，還有老大突然車禍死掉而茫然無助的綁匪。高中聯考前一個月，教科書所單方面決定的「人生進程」突然中斷，於是，在嘉義東石的藍天碧海，提前放了一次「沒有大人」（肉票）或「不必當大人」（綁匪）的暑假時光。
Let Curiosity Lead the Way｜An Interview with Take Out Director Shih-Ching Tsou
Ming Ding, a Chinese immigrant who has only recently arrived in New York, must raise $800 in a single day to repay the debt he incurred from being smuggled into the United States. Riding his bicycle through the streets in torrential rain, he delivers food door to door, hoping to scrape together enough money from meager tips to secure his chance of remaining in the city.
《無人知曉的夏日清晨》：冷冽無常下，被社會遺漏的孤島
《無人知曉的夏日清晨》開場的第一顆鏡頭，即耐人尋味。是枝裕和將攝影機與被攝者的距離拉開，畫面構圖則讓人物接近景框邊緣，幾近於壓迫的位置。此鏡位的意義，在於將觀眾強行排除，是枝裕和在此行使有效的導演權力，讓觀眾無可選擇地棲身於「窺視」的位置，便捏塑出觀眾與角色之間冷冽、遙遠的疏離感，更藉此強調角色的迷樣性，給予觀眾偷窺的慾望，加深探索角色深層內心的動力。