A Young Patriot

In Yuncheng County, Shandong, there is a girl born in the 90s named Han Wenjing who was paraplegic in a car accident in her childhood. As Han Wenjing gets older and older, she is worried about her future life. Marriage has become the biggest concern of parents. Han Wenjing got acquainted with a soldier online, but finally broke up under his father's opposition. The younger sister-in-law also had a dispute between the two over her marriage. When Han Wenjing was depressed, her father proposed to carry her to Liangshan. First, fulfilling Han Wenjing's wish was also compensation for Han Wenjing. Later, Han Wenjing met a dumb while studying e-commerce sales. The dumb liked her very much. Both parents were satisfied when they met. However, Han Wenjing felt that she still couldn't accept the disabled and wanted to try to combine healthy people, even if it failed. Under the pressure of her parents and sister-in-law on Han Wenjing, Han Wenjing still insists on her choice

This film is a realistic record of a sixty-year-old couple living in a remote village (Gurenay) in the Badain Jaran Desert of Alashan, Inner Mongolia plant thousands of mu of ammodendron and euphratica to fight against expanding deserts.

Xiayao Village, Youyu County, Shanxi ProvinceThe 7-year-old and big-footed Bai Nu and Liu Buhan, both of whom died because of their loved ones, were brought together with their three children more than 40 years ago. (Bai Danu 2 Men 1 Women) (Liu Buhan 3 (Daughter) Nowadays, the children have become grandparents, and most of them are not next to Bai Bainu and Liu Buhan. The children of both sides have differences over the old age of raising the two elderly people ... so despite the two They are all in their eighties, and still need to get up and return to the field to farm in the morning and night, and the old lady Bai is more because of her little feet, she has to stagger in the wind and rain, kneeling in the fields ... A foot-binding old lady faces the camera and talks to her little feet ...

How do you reconcile a commitment to non-violence when faced with violence? Why do the poor often seem happier than the rich? Must a society lose its traditions in order to move into the future? These are some of the questions posed to His Holiness the Dalai Lama by filmmaker and explorer Rick Ray. Ray examines some of the fundamental questions of our time by weaving together observations from his own journeys throughout India and the Middle East, and the wisdom of an extraordinary spiritual leader. This is his story, as told and filmed by Rick Ray during a private visit to his monastery in Dharamsala, India over the course of several months. Also included is rare historical footage as well as footage supplied by individuals who at great personal risk, filmed with hidden cameras within Tibet.

Yu Tian (played by Hu Tian) is a senior this year. He hasn't returned home for a few years while studying in a big city. The estrangement between him and his mother (Lin Jiehua) is somehow getting bigger and bigger. He is immersed in his artistic dreams and is not practical, but his mother, who has always been conservative, does not understand. His friends remained the same, still the same young people in the small town. Friends booed that he would be the most promising one among them, but he himself was convinced. He told his sister (played by Sun Nan) that he would go to the big city to make a fortune.

In this talk, Li Hongqi reviewed his transition from fine art to cinema, and his aesthetic and philosophical exploration from his early 'So Much Rice' to recent 'The The'. Dir. Li Hongqi also shared his strong anxiety of his existence(born with melancholia), his thought on cinema art (actually, I don't think there's any movie worth making), his epistemology, his religious view, his consideration on contemporary cinema, and what he learned about living in seclusion.

Bao, a blind woman, sings every day on the streets of Peking to make a living. She is caught up in an endless lawsuit in the hope of having some money reimbursed while doing her best to rear Ming Ming, her mentally ill daughter. After a car accident, and to her mother's great despair, Ming Ming decides to drop out of school and become a street artist. History seems to repeat itself.

Unusually popular religions and extreme secular beliefs, unconstrained power and no authoritarian society, people work hard on the land and live thrifty but do not believe in the meaning of life at all. This is Longwang Village, an empty old farming society, the most essential reality of an ordinary western village. The film does not have a perpetual plot. The images are presented with the changing of the four seasons. There is no great joy or great sadness. Everything is recorded, and no results are produced. Strictly speaking, this is actually just a rural video file, a running account of ordinary western villages without all rhetoric.

Only a few days before the Spring Festival of 2008, several truck drivers set off from Nantong, Jiangsu Province, to Guizhou province to deliver goods. But what they didn't expect was that they ran into a big snowstorm not long after their departure. What would these drivers do after they got caught up in a snowstorm and coudn't do nothing about it but wait? How would they react to this unexpected halt? And what would happen to this convoy?

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.

Village Diary

This investigative documentary gives a comprehensive record of the development of China's "August 3 Crackdown on Mafia" campaign. Li Xiaoming, the main character of the film, escapes from the incident and goes through many ups and downs. The film explores that period from a personal point of view, slowly revealing the untold story of that period.

The player of Jia Zhangke's early film "Xiao Wu" and the famous independent film activist Wang Hongwei talked about Chinese independent films at the IFF Independent Film Forum.

‘Body’ is an object we are all familiar with. For British sculptor Anthony Gormley, it is a medium for expressing thoughts about space, while for young female artist Wang Ying, it is a potential vehicle for expressing emotions. This documentary uses a split-screen method to create a three-dimensional space like a "body". It not only explores the artistic concept and development of Wang Ying, a female artist born in the 1990s who studied in the UK but also completed it on this basis. The documentary creator (me) thinks about her and her body, from'meeting','seeing' to'existence'

In the dream I had one early morning in 2014, I was sitting in the backseat of a car. The driver suddenly turned to look at me and said: Why aren’t you filming? It was my second elder sister who had already passed away. After her death, I began to keep a diary and take pictures. When I got a video camera, I began to film the daily life of my family. I filmed out of the fear of death and loss. The idea was to capture everything on film before it disappeared. 2015 was the 20th anniversary of my sister’s death. That dream seemed to tell me to face her death. Death did not stop the passing of time, and the family members I was filming continued to avoid their grief which hadn’t subsided with time. Birth and death continue to alternate in our lives, and we are always getting ready for the day when we must say goodbye.

I just watch the news of war in a distant country on my mobile. My fingers go back day by day to the day the war broke out and pose to see comments posted on the Facebook News Feed that I follow. Outside, I have friends who participated in anti-war rallies.

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.