Hongren is a village on the eastern shore of Dianchi, a lake outside of Kunming, in China’s southwestern Yunnan province. The region used to be surrounded by plots of rice paddies, vegetables and lotus. In the early 2000s, the arable lands on the eastern shore of Dianchi Lake were transformed into urban areas, and Hongren became an “urban village,” an enclave within a megalopolis.
Maria Tomon is from the central Pacific nation of Kiribati, but now lives in Sydney, where she works for an NGO raising awareness of Pacific climate change issues to schools and community groups. But her spiritual home remains the small atoll of Beru, where her father, a proud village elder, lives.
An old woman displays two bullet holes in an old pair of pants and says ‘that’s where I got shot’ to the cameraman. ‘I am keeping these pants for my grandchildren so that they can see the fight I put up to defend my rights.’ In December 2011, locals of Lambu, in the Indonesian province of West Nusa Tenggara, protested the local administration’s decision to issue a permit to mine gold in the area.
Ogawa Shinzuke’s form of partisan filmmaking has influenced subsequent generations of documentary filmmakers in Japan, East Asia and beyond. Begun in the late 1980s, Red Persimmons is the culmination of Ogawa’s final project, deftly completed by his protégé, Chinese ‘fifth generation’ filmmaker Peng Xiaolian—a graduate of the Beijing Film Academy.
Acclaimed director Tsai Ming-liang will present three of his films, as a guest of the conference Taiwan: the View from the South, hosted by CIW and the Institute of Taiwan History, Academica Sinica.A family eeks out a living on the fringes of bustling Taipei, moving between the wooded limits of the city proper, to the many nooks and cracks in that offer shelter in the urban fabric.
Focusing on the everyday life and daily toil of four elderly rice farmers in the heart of southern Taiwan's rice-producing countryside, Let It Be (“Bo Bi Lok” in Taiwanese) explores our relationship with the land. Essuing narration, the film shares the farmers’ own reflections and hardships, full of rustic humour and pathos.