Dooman River

Chang-ho lives with his mute sister and grandfather at the border between North Korea and China. He once made friends with a Korean refugee who was around the same age with him. They bonded to play the soccer together. The two boys stroke a beautiful friendship until another North Korean escapee raped Chang-ho's sister. He imputed it on his North Korean boy and fought with him. However, his friend's father was caught by the Chinese police because of taking North Korea immigrants to China illegally. Chang-ho's friend thus reported the North Korea guy to the police and at the moment that the policeman was about to take the North Korea into the police car, Chang-ho climbed on the roof of a waste school and suicide. As a film stresses sensitive issue, Dooman River is different from its similar due to its narrative and distinctive perspective which leads the story into the average people's daily life, reflects the harsh life condition of North Korean and the tense relationship among the average people of  China, North Korea and South Korea instead of from a political perspective.

Suite Suite Chinatown

As an experimental film, Suite Suite Chinatown explains some typical situations which Chinese American usually have to experience when they try to adapt to the life in the United States. The film uses a parallel film style made up with separated fragments mirroring different aspects of the life of Chinese Americans. For example, the first segment about the animation of Chinese novel Journey To The West, mirrors the nostalgia of the Chinese culture; the learning Cantonese and mandarin section corresponds to the communication difficulty between the old Chinese immigrants dominating by the Cantonese speaking Chinese and the increasing Mandarin speaking new Chinese immigrants. When addressed why this film is named Suite Suite Chinatown, the reason is that most of Chinese American share the memory related to Chinatown in common, although many of them might not live there nowadays. 

Slaying the Dragon

As a film to introduce Asian women in Hollywood films, Slaying the Dragon does a good job in tracking the representation of Asian women in Hollywood history and also the changes of the representation today. In Hollywood films, Asian women used to have the over-sexual and submissive images, which is from the Asian hookers who usually worked for American navy in 1960s during Vietnam War. Nonetheless, as time passed, the representation of Asian Women in Hollywood films change gradually to such as masculine martial arts girls. An example is Michelle Yeoh in James Bond Film; another prestigious case is Lucy Liu whose role is as equal as the other two girls in Love Kills. Nowadays, because of the popularization of social networking sites such as YouTube and the global capitalization, Asian Women's figures are changing both on cultural level and commercial level. Many Asian girls began to upload their video on YouTube, showing their westernization and their own opinions, differentiate themselves from the traditional impression of Asian women. On the other hand, as Asia plays an increasingly significant role in the global economy. As a result, Asian women begin to play more and more important roles in Hollywood films and their multiple aspects, including their life, their opinions and their professionalism.

Passion, when you do not have any income for your career, will you keep your passion?

The film is talking about the severe situation in which the Mongolia filmmakers are suffering. It is a documentary film which is tracing the history of Mongolia films. The whole story is around the filmmaker Binder Jigjid, son of Jigjid Dejid who was a pioneer of Mongolian cinema during the Communist era. Binder won several international film awards but had trouble to screen his low-budget films because his films are not market-driven commercial films. His independent films has to rely on his own publicity from one country to another country and earn very little money which is not enough to pay back for his loans. As a documentary film mirroring the struggling of artistic and independent Mongolia filmmakers, Passion claims respects towards them and represents the dissatisfaction towards the market economy driven film market. Just as what Binder said in the interview, "the society is driven by money, not art. People don't care about the film, they care about publicity."