Four categories x 11 featured titles

A Multiverse of Black Comedy
From South Korea, Taiwan, and Tajikistan come BOSS, The Waves Will Carry Us, and Black Rabbit, White Rabbit. Across three countries and languages, these films use absurdity and humour to express the helplessness of individuals confronting systems and fate. BOSS subverts the gangster genre, turning a power struggle into a dream‑chasing farce; The Waves Will Carry Us revisits the historic oppression of conservatism, a Chinese family experiences a series of absurd yet comical hardships which tells their story of human dignity; and Black Rabbit, White Rabbit constructs a labyrinth of fate through its long‑take storytelling.

Emotional Landscapes
With a focus on the mundane day-to-day, Number One and Ky Nam Inn share a steady but tender pace in storytelling, making it the best to be enjoyed in the immersive theatre experience. Number One starred the mother-son duo from Parasite, navigating the struggle of family with a whimsical twist in storytelling. Ky Nam Inn was shot with 35mm film, giving it a distinctive sense of artistry which resembles greatly with WONG Kar Wai’s aesthetic.

Emerging Perspectives
Depicting the self-discovery journey of young girls against stress and tension, Girl on Edge and Sore: Wife from the Future tell a moving story of two girls retrieving their sense of self through ice-skating and reincarnation respectively, the later had over 3 million local admissions in Indonesia. They depicted the emotional of confusion in self-doubt with the simmering strength in breaking through limitations and constraints from family and the society.

Across the Eras
Special screening features Goodbye, Dragon Inn (4K-restored), Left-Handed Girl, and The Fortress, showing the changes in the art of film across eras. Goodbye, Dragon Inn was a love letter to cinema, Left-Handed Girl told a story of growth from a children perspective, while The Fortress asked a question echoes through time – in the midst of war, are there any real winners?