Go Grandriders

As a person who has taken art exams, Guo Jiang chose to enter the industry of "art exam training" after graduating from university. His role is that of both an educator and a businessman, although most of the time he prefers to appear as "Mr. Guo". The stage on which Mr. Guo's skills are put to use is a small county in central Henan, which is also his hometown. This documentary is about Guo Jiang's career and life.In short, hovering between the desire and the so-called ideal, adhere to or let go, he needs to make a choice.

Liu Haiying, who is praised by patients as the "sword of the world", is a doctor of medicine who grew up during the 80 years of agency thinking. He spent the most important stage of his career in Germany in the mid-1990s, and he developed a rigorous career. Careful and professional character. In many years of medical practice, Liu Haiying often paid out of his pocket to help poor families with severe spinal deformity patients. He knew that if these people did not undergo surgery, they would have organ failure or death waiting for them. However, long-term funding is unsustainable for the economy.Day and night heavy work has made this good doctor with superb medical skills a patient who needs to be taken care of. Colleagues advised him to take more care of his family and body, but he couldn't stop the pace of "saving the wounded." He was still staggering, guarding his life that was hard to give up and saved the wounded.

The term "garbage" is relative, but most people's definition of garbage is absolute and rigid, and the definition of a person like "garbage man" is also relative. Compared to the ostrich that disappears when humans avoid garbage and not see psychological. With a lively and lovely tone, the film brings out the special views of how the two protagonists look at trash when they walk between the cities, and then connects the delicate relationship between their love for trash and their families.

In a city that worships money, there is a group of people who still insist on living the philosophy of "people are not living on food alone." Instead of choosing to live in seclusion, they choose to actively enter the world, improve their hearts, and influence others through artistic creation. Their innovation has not only driven the art world in Hong Kong but more importantly, through their enthusiasm for creation, they have made us understand that as long as we have a "heart", no matter how difficult the environment is, we can persist in a "love".

Filmed over three years on China’s railways, The Iron Ministry traces the vast interiors of a country on the move: flesh and metal, clangs and squeals, light and dark, and language and gesture. Scores of rail journeys come together into one, capturing the thrills and anxieties of social and technological transformation. The Iron Ministry immerses audiences in fleeting relationships and uneasy encounters between humans and machines on what will soon be the world’s largest railway network.

Follow the lives of the elderly survivors who were forced into sex slavery as “Comfort Women” by the Japanese during World War II. At the time of filming, only 22 of these women were still alive to tell their story. Through their own personal histories and perspectives, they tell a tale that should never be forgotten to generations unaware of the brutalization that occurred.

The documentary Building Archeology (jiànzhú kǎo) (2011) considers the more recent past. It’s made up of three vignettes about different buildings in Beijing: a museum, an abandoned hospital, and a detention center. The latter two vignettes are especially interesting. In the second, a woman wanders around the ruins of a hospital built in a week to deal with the 2003 SARS outbreak. The third concerns a former prisoner, tracing out a map of the detention center where he was held in 2011.

生活在遠方

This is a film about the unison between the four seasons of life and the four seasons of the year, intertwined with the geospatial and temporal dimensions of a small town named Tongchuan situated on the northwest of the Loess Plateau.

An individual's life experience is always a reflection and epitome of the times. Through the environment, literature, oral narration, calligraphy and painting works, this film faithfully records the upbringing background, family circumstances and life of the painter Chen Jiyong. His life experience and mind-watching are an ordinary case of countless intellectuals who have disappeared in the dust of time. At the same time, he has become a sample of images and life statues about this period of history.

The film records the emotions and destinies of seven single women. Whether at a loss, confused, waiting in hope, disappointed, helpless, compromised, independent or defiant, they are closely bound up to this agitated and chaotic era. Through their different experiences they tell us about the failed marriages of middle-aged women, about life being single, and about a group of men who have not yet showed up but who appear vivid from a female perspective.

This is an image of a family. Through the memories of many people, it traces the growth, migration and different life experiences of several generations of the author's family. It shows the destiny of ordinary people and their inner scenery in social transformation. Each generation has its own joy and pain, and life still continues in hope, hardship and helplessness. The various imprints of survival that remain in the film are the hard riverbed of individual life and a period of micro-history washed out by time

This is a documentary filmed in a subjective perspective. Without any commentary, the film records, in the switches and transitions of the faces, the gamut and track of emotions and vision of the author in enjoying the photographs by Koudelka—from the scenes of life in “Gypsies”, to the conflicts in “Invasion”, further to the still images in “Exiles”, and finally focused on desolately dignified “Chaos”. The four chapters of the film echo the four photo albums of Koudelka. With the indoor CD player playing the music by Shostakovich, the invasion of the landscape without the windows, intermingled with the background noise, complicates the ambient circumstances of the film and renders an immediate sense of urgency and relevance.

This is a documentary about faith, narrating the stories of a dozen or so Christians in the city of Tongchuan, in Shaanxi Province. Through the lives and beliefs of four generations of preachers, the film reflects on the profound influence of 50 years of social change on the local church. Whether recounting personal setbacks encountered on the serving path or people’s weaknesses, growth, or disputes within the church community, the film becomes a neutral and faithful portrayal of a group of preachers, of the history of the church community and of the status-quo of belief in this faithless era.

On April 6, 2001, a gas explosion occurred in the Chenjiashan Coal Mine of the Tongchuan Mining Bureau in Shaanxi Province, killing 38 people. On November 28, 2004, a gas explosion occurred in the Chenjiashan coal mine, and 166 people were killed. Five years later, Lin Xin, the son of the miners, filmed this film about mine disasters. Through the oral interviews of more than 20 people, such as miners and family members of the victims, and random interviews on the street, the film presents the real life of the miners and the cruel and complicated social reality behind the mine disaster from different angles. This film is the end of Lin Xin's "Trilogy of Survival".

Twenty plus classmates look back into the past, tracing back through a 30 year history. One after another adapts to the random events that come to shape their lives, to the four seasons of life and nature. The years they were about experience coincided with the reforms and opening up of China. Floating in the changes of the new era, some experience compromises and the loss of ideals, whilst some keep struggling ahead with great determination. Thirty years later, Lin Xin encounters his old classmates, and records their individual lives and history; the ease of monotony, the loneliness of success, the weariness of a life of plentiful, the helplessness of poverty... all come forth in the lives of these group of people, becoming an epitome of the lives of ordinary people in small to middle-sized cities in this era, and at the same time reflecting on a generation that advances forward undefeated.

This is a documentary about the father of a miner. In 1955, more than 300 young people from Shanghai came to Sanlidong Coal Mine in Tongchuan City, Shanxi Province with the hope and dream of supporting the construction of the Northwest. After 50 years, most of the builders of that year were gone. In the land where black coal is buried, the fate and breathing of the miners are always stirring. The film uses 15 clips to record the old miners, the deceased and the era that is still living in the area, witnessing the tenacity and dignity of life with a group of miners. They are: Shu Guoqi, Gu Longxiang, Shen Longgen, Wang Zhengxiang, Yao Hongchang, Ge Dengfa, Zhang Baisheng, Lu Rongchu, Zhou Shougen, Luo Shijun, Ding Fuzhen, Tong Guang, Gao Zhangshun, Chen Yixiang, Zhu Yongsheng.

Painter Lin Xin tells the story of a thousand-year-old ceramic town in the hinterland of the Loess Plateau in this first experimental documentary "Chen Furnace". The film consists of a 360-degree panoramic prologue and three parts: "Self-Talk", "Bone Style" and "Style". "Fengqing" focuses on the unique scenery of the ancient town's folk customs, houses and famous-tank wall.The film consists of a 360-degree panoramic prologue and three parts: "Self-Talk", "Bone Style" and "Style".The charm and product production process of traditional ceramic crafts such as hand-drawn blanks and engravings are displayed; "Fengqing" focuses on the unique scenery of the ancient town's folk customs, houses and famous-tank wall. The whole film, with its gazing gaze and poetic language, tries to leave in the video the final scene of the "Furnace Never Ending" and the traditional Chen Fa gradually fading away.

Southside Chicago. Crime reports. A Chinese woman. An investigation.The filmmaker, as a newcomer, explored southside Chicago through the filming of a search for a Chinese woman.

New Castle is a remote rural village where houses and mountains have been distorted due to excessive mining. Under the "New Village" campaign, all the villagers will be moved into the nearly completed Luxury Buildings. The documentary depicts the life of two groups of people, miners and villagers. The miners who are from all over the country, lost their jobs because of the Olympic Games in Beijing - the mine was shut down to make the air less polluted. The villagers had no better luck. Granny Fan lost two sons and two grandsons in a mining accident. Old Han and Old Wang are still farming. Some youngsters are gambling in the house of Han Bin, who was crippled in another mining accident. In the film, you can also see the village election, the service of local Christians, and people worshipping for a better year to come.