Cinema – Taiwan Insight

Representing the Unrepresentable: Cinema, Politics, and The Century Bloodshed Controversy

19 March 2026 NGA Shi Yeu

Written by Meng-Hao Li. The author describes the controversy surrounding the Taiwanese film The Century Bloodshed, inspired by the unresolved 1980 Lin family massacre. Responding to Wim Wenders’ claim that cinema should remain separate from politics, he argues that film inevitably engages with power and memory. Through debates over the film’s genre, his remarks, and the director’s background, the essay explores the ethical limits of representing historical trauma and Taiwan’s ongoing struggle to confront the legacy of the White Terror.

Indigenous Identity in Taiwan’s Contemporary Cinema: From Screen to Self

3 September 2025 Adrian Chiu

Written by Ana Paloma Martínez Gómez. This article explores how Indigenous identity is portrayed on screen and how film supports cultural revitalisation and self-representation through a decolonial and gendered lens. As a new Taiwanese national identity emerges, the gap between official recognition and ongoing cultural marginalisation reveals the complex space Indigenous communities occupy.

Invisible Nation Documentary is Making Taiwan More Visible

17 November 2023 Adrian Chiu

Written by Shawna Yang Ryan and Gerrit van der Wees. During the past weeks, a new documentary about Taiwan, Invisible Nation, has been making the rounds at various film festivals in the United States and Europe, including the International Documentary Film Festival Amsterdam on November 14-18, 2023. Invisible Nation is the work of Vanessa Hope, who built up the film around the everyday life of President Tsai Ing-wen, in the process creating a fascinating picture of how the low-key President is ably leading Taiwan towards a better future.

Small Step from You, A Great Leap for Migrant Workers: Documentary, ‘Civil Society’ and ‘And Miles to Go Before I Sleep’ (2022)

11 January 2023 Chee-Hann Wu

Written by Hsin-Chin Evelyn Hsieh. The award for the best documentary feature at the 59th Golden Horse Awards held in November 2022 in Taipei, Taiwan, went to And Miles to Go Before I Sleep (2022), directed by Tsung-Lung Tsai. At the ceremony, film producer Kim Hong Nguyen, dressed in the Vietnamese traditional garment áo dài, read out a message from Quoc Phi Nguyen’s family expressing their grief and hopes. It was the first time a documentary on migrant workers was presented with the Golden Horse Award, thereby creating a platform for voiceless migrants and drawing attention to the related issues in mainstream society.

‘Queer’ Film and Representation at the Taiwanese Box Office: A Post-2019 Post-COVID Sinophone Dialogue

13 June 2022

Written by Elliott Y.N. Cheung. “Queerness is that thing that lets us feel that this world is not enough, that indeed something is missing,” says José Esteban Muñoz. So, if these resisting narratives defy the regulation of an all-encompassing narrative and seek to entice viewers to recognise what is not yet there — might we call them queer? Moreover, if a country that not only enables such views but can actively and constructively engage with them, struggling to hold them in all their difference — might we also call it queer?

Transition and Transformation: The Naming Dilemma in Today’s Taiwan Cinema

15 April 2021 Editor

Written by Yiling Pan. What is the Taiwanese identity in today’s Taiwan Cinema? In 2008, Taiwan’s Cinema began to get back on its feet after an extended lull, with several new directors successively releasing critically acclaimed first works, such as Chung Mong-hong’s Parking, Tom Lin Shu-yu’s Winds of September and Gilles Yang’s Orz Boyz!. However, it took Wei Te-sheng’s debut, Cape No. 7, to become a box-office hit and arouse widespread interest in Taiwanese film. .

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