CNEX Originals brings together documentaries produced by CNEX, telling stories from Taiwan, Asia, and beyond. From culture, history, and industry to society and individual lives, these films capture moments of change and offer distinctive perspectives on the world we share. Created from real stories and shaped by filmmakers with unique voices, this dedicated library is exclusively available to supporters of CNEX Foundation programs—inviting you to discover CNEX Originals and join us in supporting documentary filmmaking and the next generation of storytellers.
CNEX 為一民間文創組織，由兩岸三地熱愛紀錄片的人士組成，以紀錄片為核心，開展文化資源、培育文化創意人才、促進華人社會和諧進步與華人文化的可持續性發展為願景，期望透過紀實文藝促進國際社會與華人的文化交流。從事優質紀錄片的製作、代理，與發行，並且自2010年舉辦CCDF華人紀錄片提案大會，至今已辦理14屆。已出品、製作包括《棒！少年》《音樂人生》《不老騎士》《1428》《大同》《沖天》《塑膠王國》等近百部紀錄片，享譽海內外，也因此孵化了一批優秀的紀錄片創作者。CNEX近期監製作品《金門》入圍2024奧斯卡金像獎最佳紀錄短片，為臺灣第一部紀錄片入圍奧斯卡的殊榮。
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.
