东南亚循迹

纯情少男科伊（胡永科 Vinh-Khoa Ho 饰）离家远走胡志明市，期待开始新生活。他遇到口甜舌滑的东（Linh Son 饰），接受了合租邀请，在公寓见到东的男友阿朗（梁孟海 Manh-Hai Luong 饰）。以为遇到贵人的科伊惨遭这对同志伴侣洗劫，身无分文只能露宿街头。孰料转眼间阿朗亦被东抛弃，成为站街男妓。两个寂寞年轻人再次相遇，然而这次没有谎言和欺骗，他们忘情的爱上对方，直到有天东重新出现。而在城市另一端，弱智丛仔（Hieu Hien 饰）想和妓女韩（Phuong-Thanh 饰）做朋友，然而他的存在影响了韩的生意。在气恼和打骂中，韩感到不用强颜欢笑的自在，对这个想孵出鸭子来的傻子渐生好感…... 《迷失天堂》讲述两个平行发展的故事，在精致画面下暴露了底层群体的各种不幸遭遇，用充满勇气的写实精神勾绘越南转型社会的边缘百态，并且破天荒的以同性恋情作为主线，是越南第一部公开上映的涉同题材电影。本片在多伦多电影节首映即收获好评，同时入围2012年柏林电影节全景单元。

2008年，納吉斯氣旋重創緬甸，孕育稻米的三角洲被海水淹沒，舉目所及皆是爛泥瓦礫，慘重的災情讓緬甸成為世界焦點。緬甸人民流離失所，日夜為了飲用水與糧食所苦，然而人道救援卻因政治而受阻，災後現場的影像也因政府資訊管制而缺失。此為首部由緬甸創作者自製而成的紀錄長片，以攝影機見證並聆聽受災戶的故事，於患難中彰顯信仰與團結的力量。 基於安全因素，影片拍攝者原以化名方式於國際影展間放映，直至2012年第二屆緬甸瓦旦電影節方揭露真名。裴貌山：「我對於片中受訪者敢在鏡頭前露面，而我們卻因安全因素無法使用真名，感到羞愧。我想向他們道歉，希望他們能諒解我們。現在事情已公開，我們有機會透過在緬甸放映本片，來向他們道歉。」 In May 2008, Cyclone Nargis hit Myanmar's Ayeyarwaddy Delta, claiming 140,000 lives. Despite a filming ban, young Burmese filmmakers clandestinely visited devastated villages after the storm, capturing surreal scenes of loss and resilience. Their emotional footage reveals the profound impact of Nargis, depicting a world where life and death intertwine, altering countless lives forever. For security reasons, the filmmakers couldn’t reveal their names and they used pseudonyms. But for the first time, they screened the film with their real names at the 2nd Wathann Film Festival in 2012. One of the directors Pe Maung Same said the screening of Nargis for the first time in Myanmar was their apology to those who were in the film. ‘I feel ashamed that we couldn’t use our real names due to security reasons when people in the movie dared to show their faces in front of the camera. I want to apologise to them. I want them to understand us. Things are open now and we get the chance to apologise by screening the film here,’ he said.

In 1996, political situation in Indonesia heated up. A turmoil involving Partai Rakyat Demokratik (PRD) – Democratic People Party – opposed authoritarian Soeharto’s regime. In aftermath of it, activists and supporters of the movement were hunted down to be silenced and wiped off from the history (possibly be killed in the process). Wiji Thukul, a vocal anti-govt poet and an activist, was accused as the responsible one for mobilizing the masses prior to the turmoil. As a fugitive (of a war between people and govt), Wiji fled to Pontianak, Borneo – almost a thousand kilometers away from his family and hometown in Solo, Java – by himself. A weary poet is on the run by himself; in exile, he coalesces with solitude in Yosep Anggi Noen’s Solo, Solitude (a.k.a. Istirahatlah Kata-Kata).

Siman discover a foreign crew shooting a moon landing. He gets caught and his tongue is cut off. He goes through life in slow motion, imitating an astronaut in outer space, labeled as crazy.

Narrated by fictional character JoJo, #BKKY is based on interviews with 100 Thai teenagers who represent a diverse range of gender identities. The film shares their experiences and attitudes toward social life in Bangkok and reveals the different paths to discovering one’s true identity.

Railway Sleepers is a creative documentary, a celebration of the train in Thailand, the different landscapes and the mobility of its people. Through mundane talk, onboard walks, the outward gaze, the aimless and attentive glance, listening, sitting still and sleeping, the film turns the train into the microcosm of birth, death, and life itself. As the vehicle’s rhythm synchronizes with the mechanism of a movie camera, we become the passengers of light.

影片講述了一個在澳大利亞長大的年輕記者在自己父親的家鄉愛上當地美麗的女導游的故事，據導演透露，這部影片拍攝時間僅13天，但是片中演員的表演都十分出色，導演希望借助這部電影能讓世界的目光注視到老撾現在的發展狀況。 สะบายดีหลวงพะบาง 早安瑯勃拉邦 是老撾歷史上第一部故事電影，這部由私人出資，老撾泰國聯手攝制的藝術電影將於6月5日在全泰國上映。影片由ศักดิ์ชาย ดีนาน.以及อนุสอน สิริสักดา兩位導演共同指導，影片男主角是大名鼎鼎的อนันดา เอเวอร์ริ่งแฮม（Ananda），這位澳大利亞-老撾混血兒在泰國經典恐怖片“鬼影”中的完美表演證實了自己在表演上不淺的天賦。女主角則是老撾美女คำลี่ พิลาวง（Khamli philawong）。

The laid-back, scenic and conservative Terengganu was the only one out of the 13 states of Malaysia that director Amir Muhammad had never been to. So he decided to go there for the first time in December 2015 and do a kind-of-travelogue about it. He quotes from "Voyage to Kelantan" (1838), a book by Munshi Abdullah (often referred to as the father of Malay journalism) which had some very scathing observations about the state and the men who live in it. These quotes are interspersed with conversations with some Terengganu men of today. Co-directed by Badrul Hisham Ismail who is a Terengganu native.

1987 年 10 月，名叫亚当的士兵手持M16步枪在吉隆坡华人地区扫射，导致一名马来人、两名华人死亡，震撼当时的大马社会。导演阿米尔在 16 年后拿着DV摄影机，到街头上采访市民对这场动乱的记忆，以及他们对于政治、社会、种族、宗教议题的意见，在虚构和现实交杂间，构筑了鲜活生猛的吉隆坡庶民群像。马来西亚首部入围日舞影展的影片，透过回顾影响了往后数十年大马政治局势的关键一年，阿米尔从一触即发的巫华冲突、政治大逮捕的「茅草行动」、箝制媒体等事件、进一步碰触到 1969 年的「513 事件」的禁忌议题，叙事幽默轻快，却直指马来西亚的政治社会核心。

在经过数十年的游击战后，马来西亚共产党走出泰国南部的丛林，许多革命党人因此重回马来西亚的故乡，但一部分的人仍选择定居在他们战斗了大半辈子的雨林，他们的后代将成为泰国公民，曾经倾付生命的独立与共产理想，在鸡鸣和雨林的空景里都已成记忆。导演阿米尔再次马共为题材，聚焦以马来穆斯林人为主要成员的马共「第十军团」，阿米尔以更抽象凝炼的影像，为马来共产党人的生命作传，而以莎士比亚剧本为灵感的虚构广播剧，是他们与母国复杂情结的隐喻。

沿着前人的足迹，探寻历史残留的片段，与当地人的闲聊间，被忽略的地理风土与历史纹路一一重现，曾经收容着革命党人的雨林，依然留存着那个时代的生命与记忆。导演阿米尔无视禁忌碰触马来西亚争议题材，以马来西亚共产党总书记陈平的生平作为引子，探查其青年时期曾经驻留的乡镇，重访马共在泰国南部的据点。大量访问当地民众的生活经验与马共成员回忆，穿插讽刺歌曲及谐拟的政治宣传音乐录影带，阿米尔不改一贯的戏谑风格，企图再书写从英国殖民、日本占领到独立后的马来西亚政治变迁。

In an old house in Hanoi, Bi, a 6-year-old child lives with his parents, his aunt and their cook. His favorite playgrounds are an ice factory and the wild grass along the river. After being absent for years, his grandfather, seriously ill, reappears and settles at their house. While Bi gets closer to his grandfather, his father tries to avoid any contact with his family. Every night, he gets drunk and goes and see his masseuse, for whom he feels a quiet strong desire. Bi's mother turns a blind eye on it. The aunt, still single, meets a 16-year-old young boy in the bus. Her attraction to him moves her deeply.

Though only 14 years old, May is selected to be the third wife of a wealthy landowner. Her new home seems idyllic, her husband favours her, and she quickly becomes pregnant with what she is certain will be the desired male progeny. But trouble is quietly brewing: she witnesses a forbidden tryst that will spark a chain reaction of misfortunes — and stir in May urges that until now had been dormant.

In 1951, a young Vietnamese girl arrives at a Saigon household as their new servant.

This is the story about Setyo, Siti and Ludiro, who were the performer of Javanese Ramayana's Wayang Wong. Setyo and Siti are spouse who live in a village by selling earthenware products. In the village, live as well Ludiro, the head of the stockyard, who is very wealthy and secretly in love with Siti. Conflicts arrived as Setyo's earthenware company is going bankrupt and Siti started to took notice in Ludiro's desire to win her love. These triangle love transform into a civil war in the village that brings not only extremity and injustice, but also the death of the loved ones.