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The Pasta’ay, which means "the festival of the legendary little people," is a significant ritual held every other year in the Saisiat aborigine group in Taiwan. Every ten years, they hold the Great Ritual. This film focuses on the Great Ritual in 1986. It tries to convey the Saisiat people’s affection for and belief in the legendary little people. At the same time, the film brings into light Saisiat people’s ambivalence towards tourist invasion, and their dilemma of being caught between tradition and modernization. Structured by the Pasta’ay songs’ movements, the film breaks down to 15 chapters. It carefully juxtaposes the visual with the aural elements, which are conveyed in the conceptual dichotomy between “the real” and “the artificial.”
Stone Dream records the daily life of Liu and his family and, by means of interviews with the protagonist and his neighbours, describes the complex ethnic relationships in Taiwan, where many Chinese live who have started families with native Taiwanese. The stones from the title are the rocks from the river that sometimes, in their polished form, display beautiful landscapes, as a symbol of inner beauty. When his wife dies, the now elderly Liu wants to return to his fatherland, but at the same time he realises that he will no longer feel at home there. He has become too strongly attached to his new fatherland Taiwan, where his son and grandson were born.
The East-West Highway was soon to be built in central Taiwan. It would pass through the village of Liu Ts'o, and many homes and rice paddies would be destroyed. The filmmaker, Hu Tai-Li, went back to her mother-in-law's village Liu Ts'o, where she did anthropological research from 1976-78, to preserve some images of life at that moment - forever.
Sounds of Love and Sorrow lets the eerie sounds of the Paiwan flutes including the nose flute, which legend says imitates the call of the deadly hundred-pace snake, mix in with the recollections of tribal elders and traditional tales to present a rich background of Paiwan life in Taiwan. Tribal elders recall the days of the youth and their romances. They tell of the creation of the Paiwan people, and lament the end of tribal life, crushed by the irresistible and contradictory forces of government policies and alien cultural influences. Talking of love, both the charm and cruelty of a traditional society are revealed. For many of the Paiwan, love may be a high point of a young life – but it is also the gateway to sorrow. But in the end, it is the high spirits, the playful romances and the family spirit of the Paiwan which shine through.
The Return of Gods and Ancestors is the first locally made ethnographic film in Taiwan. The film, captured with a hand-cranked Bell & Howell 16 mm camera, documents the most magnificent five-year ceremony in Paiwan tribe. During the festival, the Paiwan people expect to receive blessings of the gods and ancestors by piercing rattan balls with extended bamboo poles; however, they also try to prevent any harm caused by evil spirits. The Paiwan five year ceremony is not only the reunion of the dead and the living, but a meeting of the old and the new.
Voices of Orchid Island focuses on the Yami on Orchid Island, a small island located 45 miles off the southeast coast of Taiwan in the Pacific Ocean.
This short film was shot in 2002 during Bilan du Film Ethnographic for the purpose of introducing Jean Rouch to the audience at 2003 Taiwan International Ethnographic film festival. Unexpectedly, Jean Rouch passed away in 2004. In this film Jean Rouch talked about his new marriage, his anger towards the moving of the artifacts of the Mankind Museum, his anarchistic nature, his dreams and fantasies, etc.
In an intimate and joyful story of love in the face of loss, celebrated poets Andrea Gibson and Megan Falley find strength—and unexpected hilarity—in what might be their final year together.
A paralysingly beautiful documentary with a global vision—an odyssey through landscape and time—that attempts to capture the essence of life.
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