Xinyuan films in her personal essay film Jet Lag is her trip from Vienna to China. The hazmat suits on the aeroplane and the layers of tape sealing off each room in the quarantine hotel conjure up images of crime scenes or medical thrillers, although once she does gymnastics on the bed, the mood immediately shifts.

In a crumbling house on the edge of Taipei, two brothers drift through odd jobs, messy love, and quiet yearning for a life that feels like their own.

Muzi, 22, comes home to Hangzhou for Chinese New Year, where she plays her roles as a daughter, a half-sister, and a girlfriend. Roaming in this city that feels so familiar yet distant, Muzi searches for a place where she belongs.

Taiwan, 1980s. A hot summer day, watermelon juice, and celluloid dreams fuel 15-year-old Ming's sexual awakening.

The River Spirit residing in the river resolves to change its form by attempting to refine into a human, a species with great adaptability. Dancing with the garbage in the river, which contains remnants of hormones and dopamine born of desire, the River Spirit acquires a completely new life.

Xiangning's only son Zhongze shows abnormal behaviors and claims he is the incarnation of god, Xiangning is convinced he can be modified by force of Lien-Shi, her religious group. With enormous stress and obsession, she enters into a mysterious space.

A disabled girl Candy and a penny arcade staff Bae won the jackpot that night as they hit the triple seven. They were trapped in the bitter reality at the age when they both long for the coming of a bright future. A bag full of tokens was all they had in order to leverage their future.

This film traces Arizona’s desert as it is reshaped into a hub for data centres and semiconductor manufacturing. Moving through altered waterways, the film exposes tensions between technoutopian visions and drought-stricken ecologies. Guided by offscreen voices and Tohono O’odham poet Ofelia Zepeda’s ‘Cloud Song’, ancestral knowledge counters the rise of industrial ‘cloud’ infrastructures.