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Remembrance (2009)
Character: Client
About remembrance, of course, but also about the aromas that remain after farewell. A woman says farewell to her coffee shop after 20 years. A regular client is the only person to share this special moment with her. On the radio, farewell to a beloved dancer. With Tsai Ming-liang as the regular client.
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白鴿計劃：台灣新電影二十年 (2002)
Character: Self
Richly illustrated with film clips and interviews, OUR TIME, OUR STORY tells the still-evolving story of the Taiwanese "new wave," from its rise in the early 1980s, as the island was democratizing after decades under martial law, through growing international recognition and domestic debate in the 1990s. Spearheaded in its early years by such filmmakers as Edward Yang, Ko I-cheng, Hou Hsiao-hsien and Wan Jen, the movement revitalized Taiwan cinema through low-budget experiments that emphasized personal stories, political reflection and stylistic invention. Said filmmakers, writers and actors like Wu Nien-jen and Sylvia Chang, even "second wave" directors Tsai Ming-liang and Lin Cheng-sheng provide fond reminiscences and retrospective insights in this compelling account of one of the most distinctive national cinemas of the last quarter-century.
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Fleurs dans le miroir, lune dans l'eau (2009)
Character: Self as the film director of Visage
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.
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河上的月光 (2003)
Character: Narrator
Tsai Ming-liang designed this short film as a farewell to his friend Simon Field, who was about to leave his position as director of the Rotterdam Festival after eight years in office. The piece follows two dogs roaming the Tamshui River in Taipei, accompanied by the director's voice-over as he reads a written dedication for Field.
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Wiara (2018)
Character: Self
Six authorities of cinema describe their approach to transcendence, mysticism, spirituality and life after dead.
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Looking for Tsai (2002)
Character: Himself
Human shortcomings in the pursuit of an idol. Two film school students travel to interview Taiwanese film director Tsai Ming-liang and actor Lee Kang-sheng in Oslo.
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身在何處 (2022)
Character: N/A
"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
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The Pursuit of a Cinematic Dream - Tsai Ming-Liang (2022)
Character: Tsai Ming-liang
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.
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台北異想 (2009)
Character: N/A
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.
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我新认识的朋友 (1995)
Character: Himself
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.
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光陰的故事－台灣新電影 (2014)
Character: Self
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.
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你的臉 (2018)
Character: Self
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.
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Visage (2009)
Character: N/A
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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男生女相：華語電影之性別 (1998)
Character: Self
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.
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昨天 (2013)
Character: Self
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.
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French Cinema Mon Amour (2015)
Character: Self
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.
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미스터김, 영화관에 가다 (2026)
Character: Self
The first feature documentary directed by Kim Dong-ho, former festival director of the Busan International Film Festival, this film captures the present landscape of theaters and films across Asia through the eyes of a seasoned film professional. Now retired from public service, Kim travels with his camera to document the post-pandemic cinematic ecosystem, visiting theaters and film festivals in Korea, Japan, Taiwan, Indonesia, and beyond, and gathering memories and concerns from filmmakers along the way. Prominent figures like Lee Chang-dong, Park Chan-wook, Bong Joon-ho, Kore-eda Hirokazu, Tsai Ming-Liang, and Garin Nugroho eagerly share their thoughts on the fate of theaters and the future of cinema. What begins as a survey of the current state of theaters evolves into an emotional chronicle and an opportunity to reflect on the essence and sustainability of cinema.
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The Ozu Diaries (2025)
Character: Self
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.
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Wandering (2021)
Character: N/A
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.
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Le Cinéma de Jean-Pierre Léaud (2024)
Character: Self - Filmmaker
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.
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那日下午 (2015)
Character: Self
Lush jungle and a building in ruins are the ideal stage for a film-confession that defies storytelling and goes beyond conversation on cinema. Tsai Ming-Liang and his actor Lee Kang-sheng confess and put on stage a pièce in which attention and slowness are in tune with the rhythm of memory. The unveiling of Tsai Ming-liang’s filmmaking: from Stray Dogs to the most intimate notes of the director-actor relationship.
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