Fang Yi-ju

Tim Kao, the meticulous head chef of a five-star hotel in Taiwan, is set to marry his Hong Kong fiance Daisy Wu. But Tim’s divorced parents refuse to attend the same ceremony, and each insists on hosting their own. To complicate things further, the Feng Shui master chooses the same auspicious date for both events. Tim, Daisy, their wedding planner Regina, and the best man Tsai must orchestrate two weddings simultaneously in the same hotel, without either parent finding out. Surrounded by a strict father, a demanding mother, and a cast of sharp-tongued relatives, Tim must confront the traumas of his upbringing and ask himself: is he truly ready to start a new family of his own?

What haunts us is not only death, but aging. Pei-Hua is drawn like a blurred sketch—gray, undefined, embodying the quiet experience of a woman growing older.Mothers often remain fixed in place, becoming a point of reference for their daughters’ journeys. Each of us carries a “carry-on”—unfinished burdens or lessons meant to be faced in this life. When we finally leave, do these carry-ons remain? In the film, a fire becomes a ritual of release, a way of saying goodbye. Life is rarely pure joy or sorrow, and The Carry-On is no exception.

In the 1994 post-martial law period in Taiwan, the students were in the midst of protest. Chi-wei, a female college student, joins the strike to fight for their freedom of expression. During the protest, she slowly becomes attracted to Ching, the girlfriend of the leader of the student strike.

A woman moves into a new apartment, but strangely discovers she’s the only resident in the building.

Anne—seated in an obstetrics and gynecology clinic—grapples with a heart-wrenching dilemma: whether to terminate her unexpected pregnancy to pursue a high-paying job in the United States or stay in Taiwan and embrace life as a single mother. As the conflict between her rationality and emotions intensifies, her deep-seated fear of family life emerges like an unfathomable monster from within, threatening to consume her entirely.

Yi-nuo (7) and Cheng-en (10) are inseparable orphans who promised to be brothers forever. But when Yi-nuo is adopted and taken abroad, Cheng-en is left behind due to family complications. Refusing to let go, the precocious Yi-nuo begins a campaign to “sell” his best friend to his new adoptive parents. It’s a heartwarming story about a little boy trying to reunite with his “brother” against all odds.