'Fresh Kill,' Shu Lea Cheangi's debut feature film, written by acclaimed Filipino-American writer Jessica Hagedorn, uses a science fiction setting to expose the interconnectedness of global environmental crisis and racist worldviews.
Like the scenery from a running train, memories are beautiful, blurry and keep changing. A daughter expresses the feelings of losing her father by mixing video footage and analog film with animation techniques.
I guided relatives in the U.S. to scan their homes, merging their 3D models with our space in Taiwan—building a layered architecture of connection and separation. *That・This was originally a moving-image and VR installation.
On this street, I often try to piece together and visualize the childhood memories of my mother, who is Burmese Chinese, while pondering over the coexistence state and cultural microcosm of people who have “remigrated” back to Taiwanese society.
When long-distance travel is situated within the "Around the World" community completed in 1995, the concept of distance seems to vanish entirely. This film poses the question: "Is it not possible for people to travel around the world in a shorter amount of time?"
The short film "Stuck in the Mud" depicts a person with suicidal thoughts. The person faced with the choice between life and death, and the pull with their companions.
When long-distance travel is situated within the "Around the World" community completed in 1995, the concept of distance seems to vanish entirely. This film poses the question: "Is it not possible for people to travel around the world in a shorter amount of time?"
It's like the end of the world. Floods, droughts, supermarkets crammed with people, and we're all still wearing these damn masks. A girl tries to find validation, and the disjointedness brings shame. How did we get here?
One Saturday night during the frozen winter of the 2022 pandemic, when we were all house inmates and I was writing Uranus Diary, we went to play under the Yangtze River Bridge; we built fire, played guitar, and swung under the bridge, lived in their utopia, wondering about the shape of love.
The uneven exposures reflect the twinkling starlight and the shifting thoughts of the moment. This film is a record of this daily stargazing ritual and the associated reflections, forming a meditative process.
The camera's eye returns obsessively to the same places, a vertical perspective that imposes control, the possession of archaeological sites, stones lying for thousands years in the desert.
Memories are like a moving train, shuttling through the joys and sorrows between Hong Kong and Taiwan in the past, and finally reconciled with myself in the bitter days.
«It’s going to be quite soundless, the roar of our aircraft is drowning everything else. We are running straight into the most gigantic display of soundless fireworks in the world, and here we go to drop our bombs».
A stop-motion animation depicting love as a sprouting seed. A woman embarks on a journey to break free from constraints and pursue love and self-discovery.
A girl with an aging left face catches butterflies with her friend. Under her companion’s influence, she betrays her true self by tearing the butterfly apart.
