The Taipei Golden Horse Film Festival and Awards (Chinese: 台北金馬影展; pinyin: Táiběi Jīnmǎ Yǐngzhǎn; Pe̍h-ōe-jī: Tâi-pak Kim-má iáⁿ-tián) is a film festival and awards ceremony held annually in Taiwan. It was founded in 1962 by the Government Information Office of the Republic of China (ROC) in Taiwan. The awards ceremony is usually held in November or December in Taipei, although the event has also been held in other locations in Taiwan in recent times

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Hsiao-Kang, a Taiwanese film director, travels to the Louvre in Paris, France, to shoot a film that explores the Salomé myth.

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After the COVID-19 pandemic, Busan International Film Festival founder Kim Dong-ho, at eighty-five, picks up a camcorder for the first time and decides to make a documentary. His lens turns toward cinemas struggling through the crisis, as beloved theaters vanish amid dwindling audiences. Seeking to reconnect with old friends, "Mr. Kim" — now nearing ninety — travels the world to talk with filmmakers and cinephiles. Through these encounters, he reflects on cinema’s past and future, finding wisdom and resilience in a time of transformation. His journey becomes a meditation on change, memory, and the enduring spirit of film.

An exploration of Chinese cinema and its relationships with gender and sexuality, which the film argues has been more frankly and provocatively explored than in any other national cinema. Utilizing both film excerpts and interviews with many leading directors and academics, the film examines topics such as male bonding in kung fu movies, depictions of same-sex bonding and physical intimacy, the emphasis on women's grievances in melodramas, and the career of Yam Kim-Fai, a Hong Kong actress who spent her life portraying men on and off the screen.

A behind-the-scenes documentary on the making of Ming-liang Tsai’s I Don’t Want to Sleep Alone.

A portrait of the legendary actor Jean-Pierre Léaud, icon of the French New Wave and closely linked to the work of François Truffaut and Jean-Luc Goddard.

This short by Tsai Ming-liang, completed in 2021, was filmed at "the Dune" in Yilan, Taiwan, where the eight films in his Walker series were being shown.

French Cinema Mon Amour is an ensemble film in which each contributor brings their own voice, their own particular approach, their culture, and their language to produce a portrait of French cinema.

With Taiwan remaining in the grip of martial law in 1982, a group of filmmakers from that country set out to establish a cultural identity through cinema and to share it with the world. This engaging documentary looks at the movement's legacy.

Unveiling Yasujiro Ozu’s legacy through his personal diaries, letters, and interviews, the documentary delves into his life, creative process, and lasting impact on filmmaking.

Documentary about the work of Nouvelle Vague actor Jean-Pierre Léaud, with interview clips, film clips and contributions from directors and actors he has worked with.

Taipei 24H divides 24 hours in Taipei into 8 shorts. It opens with Cheng Fen-fen's upbeat and comedic "Share the Morning", and ends with Lee Kang-sheng running the final leg of this relay with "Remembrance" at 4am. Well-known director Tsai Ming-liang makes a rare appearance visiting a late night coffee shop. Taipei 24H is a contemporary urban chronicle of a city rarely at sleep.

Tsai interrupted his pre-production for The River to make this pioneering documentary for Taiwan's nascent AIDS-awareness campaign. Ignoring instructions to 'play down the gay angle', he centres the film on his own very candid conversations with two HIV+ young men. Sadly the identities of the interviewees have to be concealed, and so the freewheeling camerawork focuses most often on Tsai himself; but the sense of rapport between the director and his 'new friends' is palpable and very moving, even to Western viewers already only too familiar with these issues.

The title of the François Lunel film is the Buddhist proverb concluding by: "all is but illusion". His movie draws the Tsai Ming-Liang's face during the shooting of his movie Visage, which itself is also a movie within a movie.

"For reasons of health, Lee Kang-sheng and I moved to the mountains. We don't have any neighbors. Our house is part of a row of dilapidated houses. I love these abandoned houses. I often walk around in them casually. I think they are beautiful. I said to Lee Kang-sheng: we don't have to go elsewhere to make films anymore. I'll make all my remaining films right here. I got some old chairs and some of my paintings and arranged them in these abandoned houses. And thus, this film was made." Tsai Ming-liang

Composed of a series of portrait shots of mostly anonymous individuals, filmmaker Tsai Ming-liang's digital experiment turns the human face into a subject of dramatic intrigue.

A contemplative trip down memory lane with one of the leading voices of the Second New Wave of Taiwanese Cinema. Saw Tiong Guan clearly established a very personal bond with his subject, and also found many of Tsai Ming-liang’s colleagues prepared to complete this portrait of a quiet yet outspoken artist.

A leading figure of the "Second New Wave" of Taiwanese cinema, award-winning Director Tsai Ming-Liang has left his mark on the art world with his minimalist dialogues, contemplative fixed shots, and unmistakable depictions of urban settings. But what's left to achieve when most of your dreams have come true? Exclusively for TaiwanPlus, Tsai, who promised himself not to make more than ten feature films - but already has eleven to his credit - discusses the origins of his art and the future of his cinematographic commitment.