Getting Home | Zhang Yang

When his drinking buddy and long-time co-worker Liu Quanyou (Hong Qiwen) drops dead during a jovial session of imbibing, fifty-something working-class stiff Zhao (Zhao) vows to transport his friend's corpse to its final resting place in director Zhang Yang's gently philosophical road comedy. Though he had planned to simply cart Liu's corpse across the countryside via the local bus route, Zhao's simple plan is quickly thwarted when a gang of bandits hold up the bus. Despite having the calm of mind to talk the gang leader (Guo Degang) out of following through with the robbery, Zhao finds his plan backfiring when his fellow passengers become so unsettled with his cargo that they promptly kick him off of the bus. When a sympathetic truck driver (Hu Jun) spots Zhao carting the unwieldy cadaver on his back, he kindly offers to give the struggling man a lift before suffering an impromptu emotional breakdown. With miles to go before he reaches his destination, Zhao must resort to a series of unconventional methods to ensure that Liu receives a proper sendoff. Along the way Zhao will meet such eccentrics as a wealthy recluse who's planning his own funeral (Wu Ma), a brutish roadside restaurateur (Liu Jinshan), an optimistic cyclist (Xia Yu) traveling to Tibet, and a family of bee-keepers (Chen Ying and Guo Tao) who have turned their backs on modern society.

Grain in Ear | Zhang Lu

Cui Shunji is a Chinese woman of Korean Ancestry who supports herself and her young son by selling pickles. As she is an unlicensed vendor, she spends her life on the run pursued by the local commercial prosecutor. Cui falls in love with a married man called Kim and gets some legal help from a police officer who is one of her regular customers. Life seems to be looking up for Cui until Kim, under pressure to save his marriage, claims that she is a prostitute. She is arrested and subsequently raped by the police officer who was supposed to help her. In the face of her humiliation and shame, Cui hatches a plan for revenge. This is a carefully observed portrait of a mother on the marginal edge of an industrial no-man's-land with a venomous documentary edge.

Hula Girls | Sang-il Lee

As the Korean War draws to a close and the pressing demand for copious amounts of coal takes a sudden plunge, the remote Japanese mining town of Joban attempts to compensate for the devastating economic blow by transforming itself into a lavish Hawaiian retreat in an affectionate comedy inspired by real events and directed by Lee Sang-il. The year s 1965 and the changes that have swept through the outside world are finally reaching Joban. As the mineworkers are laid off and the women of the town take it upon themselves to gently nudge their once-prosperous community from the brink of economic collapse, the ancient Hawaiian art of the hula dance seems to offer the ideal means of doing so. Though highly fashionable Tokyo urbanite Madoka Hirayama (Yasuko Matsuyuki) at first seems terribly out of place when she arrives in Joban to teach local ladies how to saw their hips with authentic grace, her noble efforts soon instill her students with a newfound sense of confidence in both themselves, and their struggling community.

Love's Lone Flower | Tsao Jui-Yuan

A woman's lesbian feeling towards two different female singers - one in Shanghai during late 1940s and another in Taiwan during late 1950s. It is a period drama about lost loves and social transition. In Shanghai, the air was all romantic and delirious, tinted with the glamour and loneliness of fin de siècle. A touching romance was brewing among the musician San-Lang, dancing girl Yuen fang, and a young woman singer, Wubao. It lasted till Wubao’s death in war. Down and out, and merged in desolation, the musician encountered Yuen fang again in Taiwan. However, seasons and times changed. Sigh was the only thing that was ever left. A young and pure soul as Juan Juan was undergoing the most unbearable life experience. Her presence represented the reappearance of Wubao. Therefore, Yuen fang can temporally place the incomplete love with Wubao on Juan Juan. In the passage of time, and at the intersection of fate, the lives of Juan Juan & Wubao, Wubao & Juan Juan constantly raveled and overlapped; they are intertwined at the bottom of their hearts, and the corner of their memory.

Luxury Car | Wang Chao

A country school teacher reaching retirement comes to Wuhan in search of his only son. His dying wife has requested to see her boy one last time. He is met by his daughter Yanhong who works as an escort in a karaoke bar. Yanhong introduces him to a policeman who sympathizes with is plight and agrees to help him find his son. The two quickly become friends. Yanhong also presents her father to her boyfriend, the owner of the karaoke, an older man, who drives a luxury car. However, when the four of them meet for dinner one night the old policeman recognizes the boyfriend as a man he arrested over ten years ago.

No Regret | Leesong Hee-il

Su-Min, leaves the confines of a rural orphanage and moves to the big city of Seoul. He takes a low wage position as a factory worker. He also works part-time, as a chauffeur for people who have had to much to drink in bars. One of his clients asks Su-Min to come inside for a drink after he is driven home, but Su-Min leaves. The next day at the factory plenty of people are getting fired and Su -Min is one of them. As he leaves his job in disgust, he crosses paths again with the man he drove home the other night. That person happens to be the son of the CEO at the factory that Su-Min worked. Su-Min finds out shortly afterwards that the factory decided not to fire him, but instead fired a co-worker. Su-Min goes back to the office of Jae-Min, quits, and throws his business card back in his face. Su-Min then winds up working as a prostitute in a Gay Bar. His life is going relatively well under the circumstances, until he meets Jae-Min again at his workplace. AlthoughSu -Min pushes Jae-Min away, they eventually get closer and a relationship develops. Although they come from two different economic worlds, they are able to live happily together for a brief moment. That is until Jae-MinÕs mother steps in and tries to force Jae-Min into marrying a woman he does not love.

The Bubble | Eytan Fox 

Lulu lives with two gay guys, brooding music lover Noam and flamboyant cafe owner Yali. The roommates'' days and nights are spent in typical slacker fashion--hanging out, watching TV, getting laid. They are secular and progressive, but not overly political. Everything changes when Noam meets Ashraf, a cute and intense Palestinian guy, at a checkpoint. Noam is on reserve duty and Ashraf is helping a woman forced to give birth at the roadside--not the best circumstances for a meeting, but something connects them. When Ashraf shows up at Noam''s apartment, a powerfully erotic love affair begins. Ashraf becomes part of their group, while Lulu and Yali also fall dramatically in and out of love. One almost believes that the two men could inspire change as symbols of peace, but their affair is already doomed. The awful violence of life outside the bubble envelops them, gradually making their affair one of painful, tragic irony.

The Girl Who Lept Through Time | Mamoru Hosoda

When a typical young high school girl discovers that she has the unique ability to traverse space and time, her efforts to use the power as a means of preserving the relationships she shares with her closest friends reveals the perpetually shifting nature of personal relationships in Digimon: The Movie director Mamoru Hosoda's warmhearted fantasy.

The Go Master | Tian Zhuangzhuang

The material and spiritual sides of one man's life are reflected in a game that allowed him to become a hero in this historical drama from Chinese director Tian Zhuangzhuang. Wu Qingyuan (Chang Chen) was born to a wealthy family in China, and as a boy he revealed a remarkable talent for Go, a Japanese board game played on a checkered board with black-and-white marbles, which can be moved in various patterns on the playing surface. Wu's skill for the game was so great that in the 1920s he was given the opportunity to travel to Japan, where he would learn from the grand masters of Go and compete with champions from around the world. Wu spent most of the rest of his life in Japan, where his life was bordered on one side by Go and on the other by his study of Zen; however, Wu was also a Chinese man living in Japan during a time that the two nations were often in violent conflict, and he found himself viewing some of the most crucial and traumatic events of Japanese history through the eyes of an outsider.

Woman on the Beach | Hong Sangsoo

Film director, Joong-rae, is preparing for his next movie but is unable to finish his script. So he pleads his friend, Chang-wook, a production designer, to go with him on a trip even though Chang-wook had already made plans with his girlfriend, Moon-sook, a composer. Eventually Chang-wook brings his girlfriend along and they all go on a trip to the west coast to visit Shinduri Beach Resort, which is covered with cherry blossoms and a flowing mist. There, Joong-rae makes advances on Chang-wook's girlfriend, Moon-sook. Already a fan of his films, Moon-sook doesn't hide her interest. So later, while avoiding Chang-wook's eyes, the two spend a heated night together. But the next day Joong-rae's face is filled with anxiety as he proposes to go back to Seoul. He and Moon-sook then part awkwardly. Two days later, Joong-rae is back again in Shinduri. He tries to let Moon-sook know that he is back in Shinduri but he is unable to reach her and leaves the message. Then, he runs into a young woman named Sun-hee. Telling her that she resembles a woman that he's thinking of as a character in the film, Joong-rae approaches Sun-hee for an interview. They, too, end up spending a night together. Moon-sook arrives at the scene with the intent to be with Joong-rae. But seeing him being with Sun-hee, Moon-sook goes to drink on her own out of anger...

Yi Yi: A One and A Two | Edward Yang

Each member of a family in Taipei asks hard questions about life's meaning as they live through everyday quandaries. NJ is morose: his brother owes him money, his mother is in a coma, his wife suffers a spiritual crisis when she finds her life a blank, his business partners make bad decisions against his advice, and he reconnects with his first love 30 years after he dumped her. His teenage daughter Ting-Ting watches emotions roil in their neighbors' flat and is experiencing the first stirrings of love. His 8-year-old son Yang-Yang is laconic like his dad and pursues truth with the help of a camera. "Why is the world so different from what we think it is?" asks Ting-Ting.