Da Huang Pictures

Three scenes about three couples with each portraying maybe the turning point of their relationship. First scene, Lim & Amelia are a couple who had been together for almost five years. While he works as a salesman and trying to save up for marriage, the girl are not sure if he’s the one she wants to marry. One day he confronts her about a letter from her admirer. Second scene, Pete & Bernice are a couple who had been together almost ten years. They’re not married because he doesn’t believe in marriage. While she tags along, one day she might realizes this may not be the man she wants to end up with. Third scene, we see Amy & Lai are a pair of secret lovers. This maybe their last meeting or maybe not. They may had loved each other in the past they may not now in this scene. This is the third and final part of James Lee's Love Trilogy which takes offers a glimpse of the life of three lovers.

Zi Kien and his mother Ah Lin only have each other in their lives until one day, Ah Lin starts dating Mr. Lee. Zi Kien feels his place in his mother's life is threatened, and he starts to change himself. This is a story about a mother and son who care too much about each other, yet pretend not to.

In this impressive and courageous first feature, Alan Zhang follows the journey of a young woman in order to profoundly question the role of women in contemporary Chinese society. To what obligations and expectations are they subjected, and how can they free themselves from these constraints? A political and timely film, with a wonderful protagonist and a playful tone.

Two boys, Li Ahh and Li Ohm, grow up motherless. Their father, Sui, is a workaholic who shuts himself out of the world. The boys' quest to reach out to their father leads them to adopt a puppy. But when the animal is sent away for being a nuisance, the boys are devastated. For the first time, Sui realizes that all his children ask is simply to love and be loved.

A woman on the brink of adulthood has a conversation with a world-weary older man during the course of one night.

The movie follows two unfortunate secret lovers who are constantly looking for a solution to their situation. Both of them are always arguing over their relationship. One day they went to a trip out of the city, into the outskirt. They hope they can solve their problems or at least escape them temporarily. They don’t have a solution, and they don’t understand why they are together. One thing that keeps them together is their love and care for each other. This is the second part of James Lee’s Love Trilogy which takes another look at unfaithfulness or rather faithlessness.

Six filmmakers present six short films about the experiences of Chinese immigrants. Shot across Malaysia, Thailand, Singapore and Myanmar, the anthology depicts the crisis of identity that accompanies international migration.

Moon Lee, a celebrated award-winning actress, has become a full-time mom and divorcée since retiring. Desperate to regain her sense of self, she jumps at the chance to work with her long-time collaborator, director Roger Woo, again. Only this time, he casts her as the lead in a do-your-own stunts martial arts film. The role requires extensive training and though Moon is at first uncertain, she leaves her young son in the care of Roger’s assistant and commits herself to back-breaking training. As soon as she starts to gain some confidence, Roger breaks the news to her: the only way the film can move ahead is to cast her ex-husband, Julliard, as the male lead.

Amid the wintry steppes, Saina, a Mongolian horseman turned cultural performer, tends his ranch during the day and performs horseback tricks for audiences at night. Unlike the majestic cavalryman he portrays in the show, Saina discovers that his herdsman’s life is on the verge of disintegration.

The laid-back, scenic and conservative Terengganu was the only one out of the 13 states of Malaysia that director Amir Muhammad had never been to. So he decided to go there for the first time in December 2015 and do a kind-of-travelogue about it. He quotes from "Voyage to Kelantan" (1838), a book by Munshi Abdullah (often referred to as the father of Malay journalism) which had some very scathing observations about the state and the men who live in it. These quotes are interspersed with conversations with some Terengganu men of today. Co-directed by Badrul Hisham Ismail who is a Terengganu native.

A low-budget science fiction film inspired by a Japanese short story. A Man wakes up from a coma and finds himself in a hospital.

Gentle, easy-going Or Kia moves from the countryside to Kuala Lumpur to work for his cousin and best friend Ah Soon, a mid-level gangster and enforcer. While Or Kia works hard to put a sister through school, Ah Soon cares for an unstable girlfriend prone to mysterious disappearances. As they both sink deeper into a nocturnal world of debts, drugs, and betrayal, Or Kia's loyalties are strained when Ah Soon falls out of favor with the bosses and tries to escape the business.

The young local film makers of Durban inspired Tan Chui Mui to make the documentary Sarah and Omelga. Coming from Malaysia with its extreme racial divisions, she was curious about the views of her South African colleagues on the new racial 'equality' in their country. She looked up the white film maker Sarah Dawson and the black film maker Omelga Mthiyane in their own surroundings and listened to their stories.

Two men -- one elderly, one in his twenties -- are touched by tragedies linked to a single source in this drama from Malaysian filmmaker Woo Ming Jin.

Made during Tan Chui Mui’s Cinefondation Residency in Paris where she met residents Nadav Rapid and Rusudan Chkonia, who are cast here. The story is inspired by Nadav Rapid’s “Emile’s Girlfriend”.

Ping has come from Penang in the north to Kuala Lumpur to work with her aunt. There she meets John, a young man who keeps trying to approach her. Ping feels increasingly attracted to John, and although she has a boyfriend in Penang she is drawn more and more into his world. Ping loses herself in her love and does all she can to keep John.

She sees a dead friend. She does not remember he is dead. They have breakfast together. He gives her a tea cup.

If It’s Not Now, Then When? mostly takes place in an apartment inhabited by three members of a family (though never at the same time): mother Pearlly Chua (from Tsai Ming-liang’s I Don’t Want to Sleep Alone), daughter Tan Bee Hung and young son Kenny Gan. Their father seems recently to have died. The mother leaves early and returns late, out on long walks in the park with a lover whom the daughter and her best friend try to spy on. The daughter pecks away at a computer at work and has a desultory affair with her married boss, which he carries on between his business and family phone calls. And the son breaks into cars and “recycles” the electronics he finds.

A portrait of village life in South Thailand, home of retired Malay-Muslim members of the communist party of neighboring Malaysia. Recollections of the decades-long guerrilla war are interspersed with a Thai radio soap opera.

It has been a month Chang's wife Ling Yue has been missing. With no reasons one fine day she went to work as usual and then never returns. No one knows where she went or what had happened to her. Chang could not figure out why she disappears out of the sudden. She left no message of whatever kind or clues. One day a man named Tong shows up and claims to be Ling Yues lover. Apparently Tong is looking for Ling Yue too. In a turn of event both men formed an uneasy alliance in order to find Ling Yue