THERE‘S NOTHING TO SCARED ABOUT

A silent film by Vietnamese director Truong Minh Quy in collaboration with Belgian director Nicolas Graux, was shot on the set of a film by Graux. We Sit in Silence at the Memorial Table is inspired by Educational Objectives, a poem written by Aleksey Garipov and translated to English by Nicolas Graux.

Liang Yan is a freelance writer living in Beijing. He went to a house church to experience the atmosphere of fellowship. A girl accidentally unmasked his behavior, and he became more and more interested in this girl. At the same time, he participated in a book launch for the poetess named Ma Yan. Ma Yan's poem reminded him of a former friend named ChunTian. The contact with ChunTian made Liang Yan immersed in the memories of the past. When he emerged from the surface of reality, he found that all these things were just a few words in the poem.

Andy is a novelist who works from home. One day, a girl mysteriously appears in his toilet. She claims to be from the future and needs his help. Her name is Pomegranate.

This is a complete video that was downloaded from the Internet. I didn't make any changes, just added a title at the beginning and a line of text at the end. The time frame on the video appears to indicate an event in the future, but this is reality, not science fiction.

In the sound of rice huller, the rice falls to the jar; and in the booming sound of thunder, the rain drops falldown on the ground. Witha shovel on shoulder, we're farming under the sky. -- This is a children's folk rhymes used to be very popular among the Hakka people lived in the westernpart of Fujian Province, China. While farming is not an easy work, rice hulling is an even more laborious work. Rice-huller is a tool used by the peasants in southern China to hull the rice for thousands of years in theirfarming history. This documentary films the making of probably the last rice-huller ever made by mankind.

Four college students from Shandong University of Technology planned to make a documentary about the folk culture of ghosts and spirits. They went to a village in Heze City, Shandong Province, and made some interviews with local villagers. During the interviews, they heard a lot of local weird tales. The shooting of the documentary went smoothly, and that night, they chose to stay in the village. At this point, strange things, however, began to happen...

The father tells his daughter Nunu a lie that there is a cow in her milk cup. She believes it and drinks up milk, but there isn't any cow. Her father tells her a variety of lies, which Nunu finds increasingly difficult to believe.

The baby is a temporary floating population. He works diligently, from a small restaurant owner to a tea shop manager to a bar manager. This film records the survival state of children centered and gay comrades: trivial, messy, boring, and entertaining themselves. The camera calmly captures every bit of their daily life for more than two years, and as time goes by, the changes the baby presents are more ordinary. The film calmly explains the relationship between "comrades" and "society", and the various small details interpenetrated in the film also metaphorically reflect the changes of today's society

In Southern Beijing, a father and his son who relied on each other were struggling to live, and two daughters wanted to seize their father's retirement expenses for their own personal gain. And misfortunes came one after another. The 60-year-old demented son was deliberately abandoned by his brother-in-law, and the young tenant went astray for so-called love. Life was getting tougher. In the constant struggles, the 90-year-old father felt hard to bear the burden of life, and wanted to end his life with pesticides with his son. The film ends here and leaves the suspense, in which the cold-bloodedness and fetters of kinship are vividly displayed. The feeling of powerlessness goes straight to the hearts through screen. Two people’s lifetime adding up to 150 years come to an abrupt end.

A young girl Pui and her father live together leaning on each other for support, but they still feel lonely and insecure. At the same time, the young girl is haunted by the death of her mother. After small accidents, she magically starts to walks into an Another World over and over again, where memories and realities intertwined, but she has no idea whether it’s a dreamworld, or a ghost land.

Due to his history of theft in the past, Lin Kuan is falsely accused of stealing from his high school classmate. To prove his innocence, Lin enlists his friend Xiao Bing to make a plan that will clear his name. However, heir seemingly perfect plan takes a turn that pushes Lin to a dangerous edge.

China marks the beginning of the extensive Asian theme in Ottinger’s filmography and is her first travelogue. Her observant eye is interested in anything from Sichuan opera and the Beijing Film Studio to the production of candy and sounds of bicycle bells.

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.

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?

The work reflects on the relationship between technology and us by constructing an advanced technological product from the future. This future product will replace people's worship and spiritual sustentation of the power of gods and Buddhas in religion with technology, turning the invisible into visible. This paper probes into the possibility and influence of the deification of technology in the future, and puts forward the solution of "love, nostalgia and nature" to relieve the pain caused by the excessive intervention of technology.

SUN GLASSES

Jiang Xue, a well-known investigative journalist, began an in-depth investigation into the political injustice that happened in his hometown nearly half a century ago. "Xue‘s investigation" was one of Jiang Xue's main self-media at the time, but it was suspended in a short period of time because of the depth and sharpness of the work and the courage to reveal the truth of the incident. During the filming by Jiang Xue, the video version of "Snow Visit" produced by Tiger Temple was only made in the first phase of the film and one person (Xiang Chengjian) died prematurely, making it a precious historical film.

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.

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.

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.