Homegreen Films

Hsiao-Kang, now working as an adult movie actor, meets Shiang-chyi once again. Meanwhile, the city of Taipei faces a water shortage that makes the sales of watermelons skyrocket.

Rawang, an immigrant from Bangladesh living in awful conditions, takes pity on a Chinese man, Hsiao-kang, who is beaten up and left in the street. Rawang lovingly nurses him on a mattress he found. When he is almost healed, Hsiao-kang meets the waitress Chyi. His love for Rawang is put to the test.

Kang lives alone in a big house, Non in a small apartment in town. They meet, and then part, their days flowing on as before.

The walker with the shaved head and dressed in a red robe is barefoot. He walks slowly but determinedly through the forest, over stones and grassland. He also makes his way through the shadows of trees and houses. He sets foot in the train station, the church and the museum. The sun rises and sets again. The walker passes through Washington, D.C. Another stranger is also on the move in the city. We are unsure whether or not he is following the walker.

A street vendor with a grim home-life forges a connection with a young woman on her way to Paris.

On a dark and rainy night, a historic and regal Taipei cinema sees its final film: 1967 martial arts feature "Dragon Inn".

The title of the François Lunel film is the Buddhist proverb concluding by: "all is but illusion". His movie draws the Tsai Ming-Liang's face during the shooting of his movie Visage, which itself is also a movie within a movie.

An alcoholic man and his two young children barely survive in Taipei. They cross paths with a lonely grocery clerk who might help them make a better life.

Hsiao-Kang, a Taiwanese film director, travels to the Louvre in Paris, France, to shoot a film that explores the Salomé myth.

Having lost all his money in the stock market, a depressed man falls in love with a woman over a suicide helpline.

A continuation of Tsai Ming-Liang's Walker series, featuring Lee Kang-Sheng as a barefoot monk who walks very slowly.

In 2013, Tsai Ming-Liang was invited by Malaysian filmmaker Tan Chui Mui to make a short film for an anthology film, "Letters from the South". Tsai Ming-Liang returned to his hometown in Kuching, Malaysia and made a "Walker" film at his childhood home, "Walking on Water". The seven-storey flat which contained the happy memories of his childhood is now occupied by strangers. His old neighbour, an older girl who used to bathe and feed him when he was a child, has also grown old.

In the wee hours of winter a night train travels through a sleepless city. This is a panorama of a Buddhist monk's journey through Tokyo at night. He also stops at a bath-house in a capsule hotel, where he makes a brief encounter.

A young woman wandering around meets a young man going to a casting call for a pornographic film.

A metaphor for mourning as much as it is a reminder to slow down, Tsai Ming-liang's stunningly beautiful Walker features his acteur fétiche Lee Kang-Sheng as a red-robed monk barely locomoting through the bustling streets of Hong Kong.

This short by Tsai Ming-liang, completed in 2021, was filmed at "the Dune" in Yilan, Taiwan, where the eight films in his Walker series were being shown.

Composed of a series of portrait shots of mostly anonymous individuals, filmmaker Tsai Ming-liang's digital experiment turns the human face into a subject of dramatic intrigue.

Lush jungle and a building in ruins are the ideal stage for a film-confession that defies storytelling and goes beyond conversation on cinema. Tsai Ming-Liang and his actor Lee Kang-sheng confess and put on stage a pièce in which attention and slowness are in tune with the rhythm of memory. The unveiling of Tsai Ming-liang’s filmmaking: from Stray Dogs to the most intimate notes of the director-actor relationship.

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.

According to Tsai, “I chose to film Yilan’s Nanguan Market, the breakfast store next to the city god temple, the clay oven roll shop on Fuxing Road, and the mountains, water and paddy fields. To me, these are part of the architects’ everyday life. What makes Fieldoffice Architects precious is that they never do their work behind closed doors. Instead, their works are deeply guided by Yilan’s landscape and local customs, and are informed by their passion and love as artists.”