Climbing a deadly tower, Oscar seeks the power of its master, the Witch of the Azure Moon. He hopes her incredible magic can break a curse that will kill any woman he takes for a wife. However, when the prince sees how beautiful Tinasha is, he has a better idea—since she's surely strong enough to survive his curse, she should just marry him instead! Tinasha isn't keen on the idea but agrees to live with Oscar in the royal castle for a year while researching the spell placed on the prince. The witch's pretty face hides several lifetimes of dark secrets, however—secrets that begin resurfacing.

A migrant worker's passing leads authorities on a wild goose chase on his identity and what to do with his corpse.

"Stars never leave their orbits". The poor astronomy teacher got one more demonstration of this law when he met HER. SHE was "from the another world". SHE was strange and inappropriate in his tiny calm town. Town with slough-like life and citizens who spent all their time gossiping. Once he almost started to believe that the miracle is possible... but "the stars never leave their orbits"

Zhang Ya-Ting wants to switch to a gender neutral name. She goes to her best friend Hong Jia-Hao but interrupts him in the middle of hooking up with someone from a dating app.

01.08.2009: An armed man bursts into the “BarNoar”, an LGBTQ youth club, and opens fire. The bullet that hit me, turned my life upside down. 13 years later – I embark on a journey where I revisit old wounds, deal with the trauma and talk with my family for the first time about that evening and the secrets revealed in its wake.

This film is constructed upon the visual poetry between what you hear and see, and a sensual fluidity that is not based on the cause and effect relationship. It casts away the practicalities and the functionalities commonly defined in real-world objects by returning things to their raw state, and guiding the viewer’s awareness to the finer details, while intertwining layers of poetic imagery.

Yana meets the Young Man and falls in love with him at the party. However, when returns home she confesses that does not remember his name. Girl does not dare to ask the Young Man what his name is. So for two months she tries in vain to find out his name in other ways. In the end, Yana has a nightmare and she still confesses to the whole guy. The young man replies that he also does not know the girl's name. For the first time after two months of relationship, young people have a full-fledged acquaintance.

The second film in Huang Ya-Li's Sweet Potato trilogy.

Zainab is a successful girl who supports her family financially. But considers herself a boy in spirit, and has now decided to undergo gender transition. In addition to her family's opposition and society's view on this issue, she has more problems however. She played in the country's national volleyball team and is now in the Bartar league. If she goes through with the transition, she will be removed from professional volleyball forever due to her short stature compared to men, and not only will she lose her professional future, but also her livelihood and ability to take care of her family.

Another kind of utopia is presented in the films of Naomi Uman, whose search for her family roots in the Ukraine led her to move to the small village of Legedzine. In "Unnamed Film", she shoots the old bubushka ladies as they expertly prepare pickles, pick vegetables, and sing odes to vodka. Shot on 16mm with non-sync sound, it has an intimate, handmade quality, only heightened by the use of explanatory inter-titles in place of subtitles. Uman’s Ukrainain was weak, so she wanted the viewer to have the same experience as she did, just getting the gist of things. As with Uruphong’s work, there is a nostalgia for the old ways, which were self-sufficient but took an incredible toll on the body. The bubushkas complain about their aching backs and the never-ending poverty, spiking any drift towards romanticization.

If any film could eat you alive, it would be this one. This epic finale to Bruce McClure’s Wexner Center projection performance builds to an all-consuming crescendo of light and sound. On handwritten program notes that McClure distributed at another performance, he wrote in the margin: "There is never enough time before an execution." And McClure’s performance, especially by ending with the void of Untitled Compliment's maw, felt like an attempt to extend and retain a special type of vision before the petite mort of the house lights. It's an experience that can't be transmitted or recorded by any device other than being in that specific time and place. -Chris Stults, Wexner Center for the Arts

A short collage revealing invisible phenomena.

A Western Film.