Jin is in her 60s. Her concern is for daughter Zuer who’s in New York trying out IVF. When Jin receives the tragic news that Zuer and her partner have died in an accident, she also finds out that she now needs to decide the fate of Zuer’s embryo. Meanwhile, Jin’s trip to New York forces her to face Emma, the daughter she gave up for adoption when she was 17. Past regrets and future responsibilities collide.

Four restless souls move through the numb routine of daily life. What binds them is not love or friendship, but a shared craving—for physical release, for emotional escape, for something more. As they draw closer to the fire they’re playing with, what ignites is no longer pleasure, but the raw, inescapable truths they’ve each tried to bury. The Chronicles of Libidoists strips away pretense to confront the primal, unfiltered desires that make us human—with stunning honesty and a daring vulnerability rarely seen on screen.

In this quietly affecting modern romance, renowned talent manager CHEN Le-Fu (played by acclaimed singer René LIU) and her boyfriend LIN Po-En (Shih-Ling HSUEH), a music video director, lead parallel lives in the same city—yet rarely share the same space. When CHEN is suddenly hospitalised, the two are thrust into an unusual and confined intimacy: 24 hours a day, face to face, in the same hospital room. What begins as a reunion slowly becomes a reckoning, as the couple confronts not only the strain of their careers, but also the emotional distance they’ve learned to live with.

The protagonist of the film is Zhang Qi-mao played by CHANG Hsiao-Chuan, whose daughter went missing when she was three months old. It is suspected that she was stolen by a child abduction group. His wife killed herself because of her guiltiness. He went into investigation but was framed and put into jail. When he got out, he found that her daughter has been stolen by a human organ trafficking group and become an organ donor whose heart was taken away. He has been in a rage and begun to use violence to seek a revenge.

In 1961, a dismembered female body is discovered in a waterway in Taipei. Policeman ZHAO Zi-wu (played by Berant ZHU, in the right) and journalist ZHANG Xiu-Xiu (played by Julia WU) launch an investigation but lack compelling leads. Meanwhile, a power struggle erupts over the position of Chief of General Staff, and Zi-wu’s father, General ZHAO (played by CHANG Shih), becomes a suspect in the dismemberment case.

Structured around four interwoven couples, each carrying emotional scars that make them hide from or flee the ones they love, the film delicately explores the quiet battles that define modern intimacy. From rejection and betrayal to the weight of family expectations, the path to acceptance is never easy. But to truly love someone, each must first confront their own fears and vulnerabilities.

Contemporary Taiwan countryside. Yen returns to her Hakkanese village after serving eight years in prison for the death of her father. Amidst her attempt to reconcile with her past and her mother, Ai-Lee, a mysterious acting student that bears an uncanny resemblance to Yen, wanders around Kaohsiung city. As fate intertwines their paths, a shared secret comes to light, posing the question: What will happen when their worlds inevitably collide?

Set in contemporary Singapore, the film follows Junyang (WU Chien-Hho) and Peiying (Anicca Panna), whose lives are upended when their daughter mysteriously vanishes from a playground after a brief moment of inattention. As police launch an investigation, the couple receives an anonymous package—containing clandestine footage of their daily lives, including intimate moments before and after the child’s disappearance.

HOU Hsiao-Hsien’s masterful period drama Flowers of Shanghai adapts The Sing-song Girls of Shanghai, a 19th-century Wu-language novel by Han Bangqing, later famously translated into Mandarin by literary icon Eileen Chang. Featuring a luminous cast at the height of their powers—including Tony LEUNG Chiu-wai, Michiko Hada, Michelle Reis, and Carina Lau—the film is a hypnotic, time-bending experience.

A poignant and soul-stirring ode to cultural reclamation and artistic resilience, Dancing Home charts the remarkable journey of legendary Paiwan choreographer Bulareyaung Pagarlava. At the height of his global career—with credits that include the Martha Graham Dance Company (USA) and Cloud Gate 2 (Taiwan).

KAO Chu-Hua, a Taiwanese Indigenous woman from the Tsou tribe, was the daughter of a political prisoner. To survive during Taiwan’s White Terror era, she adopted the stage name “Panana” and began performing in elite clubs, using her voice and presence to navigate a world shadowed by surveillance and fear.