Dead people don't speak; movies do. Nations that kill people are best at playing dumb, but luckily, filmmakers are even crazier, and we, the audience, are afraid that we are too naive to watch the films. These five films are like wills, like accusations, yet they are not the wills and accusations we're used to seeing. Instead, they resemble meticulously crafted puzzle games, inviting us to engage in a battle of wits and empathy. This is not just a process of finding the truth about death; it's also an opportunity to reflect on the nature of images. Is cinema a record, a reconstruction, or an experimental ghost story? The dead can no longer choose. For those of us who are alive, we must keep our eyes wide open and make our choices.
Author蘇致亨臺灣大學社會學研究所博士候選人。曾任文化部首長幕僚、國家電影及視聽文化中心研究員、策劃「剪出來的電影史：戰後電影審查特展」。著有《毋甘願的電影史：曾經，臺灣有個好萊塢》，並曾於 BIOS monthly 撰寫〈弄髒電影史〉專欄。現從事影視編劇工作。
Taiwan has long since become the first country in Asia to legalize same-sex marriage, and LGBTQ+ lives seem to be increasingly woven into everyday life. Yet, when we turn our gaze to Asia’s mainstream media and cinema, where are the stories of lesbian women? The love left unspoken, the relationships that defy definition, and the intimacies that blur the line between friendship and romance—are they still hidden beyond the frame? And when lesbian women do appear on screen, how often are their stories truly told from their own perspectives? This time, through a collection of films, we summon those who have always been there, yet have rarely been seen. “I summon you by this name. Reveal yourself.”
The Taiwan Film Festival of Boston is dedicated to showcasing Taiwan’s diverse cultures and social landscapes through cinema while fostering meaningful exchange between Taiwanese filmmakers and North American audiences. Since 2011, the New Taipei City Documentary Film Award has supported documentary filmmaking and encouraged creators to engage with their times, capturing lived experiences and social realities through the moving image. Together, the two organizations present this virtual film festival, featuring outstanding works from past editions of the Taiwan Film Festival of Boston and the New Taipei City Documentary Film Award. By bringing Taiwanese stories of ecology, culture, identity, and coming of age beyond geographical boundaries, this collaboration invites audiences around the world to discover Taiwan through the lens of documentary filmmaking and engage in cross-cultural dialogue. Through the power of documentary cinema, the festival seeks to foster greater cross-cultural understanding, celebrate the creativity and vitality of Taiwan’s documentary tradition, and strengthen connections between New Taipei City, Taiwanese filmmakers, and international film communities. New Taipei City Documentary Award Section Title | Habitats of Life Envisioning a Sustainable Future Where People and the Environment Thrive Together From oceans and forests to where Indigenous communities and cities meet, life seeks ways to survive, grow, and belong. Where the Bees Belong, Hearing from the Dolphin, The Elimination, A Tayal, and Childhood In Between explore ecological conservation, wildlife conditions, cultural heritage, and identity, revealing complex relationships between people, nature, and society. As habitats shift and generations change, each story shows how life responds to environmental and social challenges while seeking new possibilities for coexistence. Echoing the United Nations Sustainable Development Goals (SDGs), this program invites audiences to reconsider habitat not only as a physical place, but also as an ecological, cultural, and emotional home—and to imagine a more diverse, inclusive, and sustainable future. The online screenings held in collaboration with the New Taipei City Documentary Film Awards concluded successfully on October 11. Some films have been taken offline as scheduled. We invite you to continue enjoying the other outstanding films available on the platform!
“Lu-se” (魯蛇, Taiwanese internet slang borrowed from the English word “loser”) seems to have become a dead word. You rarely hear anyone say it anymore, and I’m not sure why. I don’t think the term can be understood simply as the English “loser.” In the way it’s used in Taiwan, it seems to carry a touch of self-deprecating humor, and that’s a quality I really love. The films above are the ones that, to me, have that feeling.