No matter where you are, not just in Taiwan, international movie fans can easily watch too! The first wave of films from emerging creators are now live in our international section. Featuring top selections from prestigious film festivals like Golden Horse Awards and Golden Harvest Awards, as well as many highly anticipated emerging works for you to explore anytime, anywhere!
Wherever you are, in Taiwan or abroad, you can watch with ease! Discover acclaimed films from the Cannes, Venice, and Golden Horse film festivals, plus a lineup of highly anticipated works from emerging filmmakers waiting for you to explore. Start watching anytime — no borders, no limits.
The Korean Independent Animation Filmmakers Association (KIAFA) has established a distribution team called AniSEED, dedicated to protecting the rights of animation directors, safeguarding the copyrights of animated works, and actively advancing distribution and marketing efforts. The name "AniSEED" symbolizes the act of planting seeds, embodying a commitment to nurturing the boundless potential and vitality of independent animation. As KIAFA's distribution team for independent animation, AniSEED sets out on this journey with the goal of managing and preserving works while creating diverse screening opportunities. Guided by the philosophy of planting small seeds and patiently watching them grow, AniSEED is committed to cultivating a sustainable ecosystem for independent animation.
When the familiar surface of reality begins to crack, another set of rules governing time, space, and life quietly comes into motion. Through lines, textures, and sound, animation creates universes that have never existed, allowing unfamiliar creatures and strange landscapes to emerge from the imagination. As we pass through these cracks, we encounter not only other worlds, but also another side of reality yet to be discovered.
For women, to live as full human beings in this world has never been easy. In these stories, women are placed within multiple roles: daughters-in-law, mothers, job seekers, and migrant brides within transnational contexts. Between bodily experience, childbirth, and the question of staying or leaving, they struggle between trauma recovery and life choices, while also being seen and expected within structures of power. They are expected to embody contradictory ideals: to be both desirable bodies and symbols of purity; to conform to norms while pursuing ideals. Within structures shaped by violence, sexual harassment, and entrenched misogyny, they continue to resist within bodies that are constantly constrained, seeking possibilities of freedom and rebirth. Their lives unfold like flowers in bloom. The Blood of a Hen and The River of White Porcelain may respond, through image, to the complexity of these predicaments, and open up alternative ways of seeing and understanding women’s experiences.