Daughter of Nectar, a gracefully carved marble nude from 1921 by Huang Tu-shui, Taiwan's inaugural modern sculptor, encapsulates a complex century of Taiwanese history, spanning from Japanese colonisation to Chiang Kai-shek's authoritarian rule and the White Terror era. This sculpture, both delicate and resilient, stands as a silent sentinel, mirroring the enduring struggles, suppressed voices, and profound cultural transformations of its homeland.

Eighty years ago, Weng Nao, a Taiwanese young man wrote essays and novels, documenting his life in Koenji, Tokyo. He dies on the eve of the Pacific War, and his death remains a mystery. Eighty years later, the directors come to Koenji to look for the forgotten truth.

Sculptor Tu-shui Huang (1895-1930) was way ahead of his time, combining traditional Chinese themes with Western influences that he learned while studying at the art academy in Tokyo. This earned him a reputation as the “founder of modern Taiwanese sculpture,” but he also drew criticism.

Waking, sleep and everything in between proved indistinguishable. This documentary recreates elements of existential banality and guides focus inward. Things play out over and over, but it’s never quite the same: repetition here lulls the rational, while a studious lack of replication sharpens focus and induces contemplation. It’s an interplay of movie (and its constituent elements of light, shadow and audience) mirrored in consciousness (and its building blocks of waking, sleep and dream) if you will.

變動的海平線劃過天空與海洋，也劃過真實與夢境的界限，「淹煙」由海面躍升，開啟一場熱帶海洋的幻夢。為什麼我在這裡？這是一個夢嗎？海底的「找尋者」企圖從他的現實中尋找真正的解答，但所有對於夢的尋求，皆只來自於身處之夢的迴響，他將找到答案嗎？

紀錄片以16mm膠卷微觀大理石肌理世界，以光鑿刻大理石上的歷史印記，在媒材與媒材的對話中，搖晃過時間之河，留下臺灣晦澀的歷史身影。百年之後的今日，重新為這尊在動盪中誕生的女神打造全新的形象，藉由鏡頭對焦，再次回望自身的腳步，走過殖民、戒嚴等封建政權，不再畏懼，邁開新的步伐。 延續上回《少女》胸像修復紀錄片——「久子」，林君昵與黃邦銓兩位導演再度與原班人馬王榆鈞與震．聲音平台合作，透過重重追索，試圖探究當時《甘露水》從1921年入選第三屆帝國美術展覽會後，歷經返臺、被棄置、張家保護封藏，直到由林曼麗率領的北師美術館團隊尋得並展開修復與展覽計畫，甘露水經由修復師森純一的巧手褪去髒污，重新站回影框內，留下屬於她應得的美麗。 眼尖的朋友或許也有發現，《甘露水》最早釋出的形象照片，便是來自導演團隊的巧思唷！另外，預告片也搶先收聽王榆鈞以《甘露水》為謬思創作的片尾曲！

漫遊在城市迷霧中，尋找如幻影般的人。梭巡1930年代東京高圓寺的舊地圖，視線時而清晰、時而模糊地圈劃過往記憶，拼湊著所剩無幾的往昔材料。孤獨的靈魂在喃喃自語，在他曾寄宿的那戶人家、曾走過的浪人街，在街坊鄰居的口耳相傳裡。來自台灣的天才作家翁鬧，謎樣的生平與日本求學生活，宛若破曉之際晃過人間的一道幻影。