“Saigon Souls” captures a state of mind. You are Saigon-ese if you think that you are, whether you just arrived, just returned or have been living here your whole life.

The art film is a journey into finding the soulfulness of its makers - the Saigon people and the landscape that constantly reinventing itself.

This piece comes straight from the hearts and visions of two Saigonese, Vicki was born here and Robin has been living in Saigon for over 5 years. They experience the ups and downs, the opportunities, and flourishing spirits of this city like no other. To them, Saigon is not like Paris, Tokyo, or Shanghai. The city is always in-the-making, rough, and chaotic, literally in the physical sense. As you take a ride through the city, there are high-rise buildings and independent shops in between marshlands and public constructions. However, the city’s unchanged element is the people in it. Hence, we want to make Saigon Souls a platform to celebrate the local talents, artists, musicians, craft makers, designers, and many more individuals… etc that make the city unique. Without any stylistic set designs, and meticulous art direction, Saigon Souls wants to capture the rawness and unapologetic, relentless spirit that people in Saigon have.

This film embraces plant sentience as fact and speculates how beings of the vegetal variety might approach interspecies communication with humans (who are far more sensorially limited). Leaves, mycelium, and roots playfully examine how humans experience the world, and the (supposedly) silent watchers consider what language those swift blurs of human might possibly understand.

Set in the Philippines during World War II, a young woman struggles to find purpose after losing her father.

It uses symbolism to compare a closed system to a bus, and depicts a society in alienation and surveillance from a microscopic perspective.
A fluoroscopy bus carries the crowd from the center to the edge of the city. In the fixed and crowded carriage, some people just boarding the bus collide with each other, and some people are taking a nap at the seat.

Uíge, Angola. Inside a Portuguese catholic seminar, different forms of silence are experienced. A place inhabited by multiple sonorities and images that wander from nature and meditation to colonial impressions.

"i'm a dog,who lives in the park under a bridge.awooooooooo~"

Drug dealer Guo-hao hopes to make enough money so that he and his girlfriend can leave their life of crime behind. One day, he is contacted by Michael, a drug broker with an offer to buy a batch of rare cocaine.

Guo-hao teams up with long-time buddy Da-wei to borrow money from local crime boss Uncle Ma to complete this deal.

On the day of the exchange, however, Michael is found dead and the drugs are already gone. The owner of the cocaine threatens to kill Guo-hao if he fails to come up with the drugs or money. At the same time, Uncle Ma dispatches his henchmen to recover the loan.

In the middle of the night, Guo-hao receives a phone call from a mysterious man claiming to be in possession of the lost cocaine, telling Guo-hao he has a new deal for him…

A stunning visual exploration of matter in various states of microbial transformation begs fundamental questions about human cultures’ complicated relationships with other species.

Wrought begins with that universal moment of disappointment: despite all best efforts, our food has gone bad! But instead of turning away in disgust, Wrought zooms in, approaching the usually hidden world of decay with curiosity and stunning time lapse photography. Spoiling dinner leftovers bloom with successions of geometric bacterial colonies. Yeasts churn and froth in the torrential flood of juice leaking from a decaying melon. Cheese is slowly engulfed by carpets of furry, green mould. But, the narrator asks, would rot by any other name still reek?

In answering this question, Wrought unfolds a larger story about the ways humans create categories for the world around us that can be limiting. It explores (and challenges) terms like spoil, ferment, compost and rot as it coaxes audiences to decompose these categories and their associated binaries: self and other, human and non-human, and nature and culture. As the film title implies, we are all forged out of the relationships that transgress such binaries; we are all, indeed, wrought.

I began making Healing was the time when the pandemic was very serious， it effected my from both physics and mental. So, the motif of the video is I want to make a story about healing. The healing what I want to show is not very direct or on the surface, it’s should be from the root, or from our subconscious. The world consists of elements, I tried to start with elements, doing an inner therapy.