金馬影展

11:11

DIRECTOR  Yan Yan MAK

All my creations are continuous records of places I’ve lived in. I accidentally discovered the beautiful harbor of Samut Sakhon in Thailand and it reminded me of Hong Kong. I have something to say about lust, a desire that everybody is familiar with. And that’s how I came up with the story. The title 11:11 also shows the reason why I wrote the story. I love all the roles in my story, though they are, without an exception, selfish and beat. Just when you think they have no future, they make you believe human beings cannot be defeated despite tight living in tough times. The number 11:11 could be a coincidence or a balance, a co-existence, the budding of new hope. Nobody has ever managed to articulate what life is, when it has no opening, continuity, swerve and closing. This is a story about lies, betrayal, and love.

PRODUCER  Jacqueline LIU

to present the project to international and regional financiers who share similar vision with us, and also believe in us. Our targeted audiences are film lovers from all over the world and those who like to see more than just a story in a film project. 11:11 is a very challenging project to invest in, it may be a little bit unconventional but after all, it’s just another high potential project requiring a lot of love and bravery to achieve. There is no gain without risk, perhaps no risk without love.

SCHIZO

DIRECTOR  John HSU

I aspire to use fun rules to tell a simple, original story with a human touch in my first feature. Suspense films and film noir are somehow absent in Taiwan these years: Schizo will be a new concept suspense action film based in Taiwan. I will explore richer characterization than that in conventional suspense films. We have built an innovative way to portray the life of a schizophrenia, which suggests untold possibilities in the narration and visuals. Both scenes of daily life and the action choreography will be refreshingly different. To revitalize a fixed genre is what our team is most confident of. Films in various genres begin to emerge in Taiwan and we want to explore further, in hope of presenting profoundly memorable genre-film characters.I think FPP 2013 can help me to examine the edges and flaws of my story and proposal.

PRODUCER  Maxx TSAI

We want to get more opportunities to cooperate and communicate with investors and film professionals, achieving a common ground and start making this film. Schizo is an accurate genre-based suspense film with a global appeal in which audience can spot a new aura of Taiwanese cinema. Filmmakers need support from investors. When more investment goes into film creation and production, more successful films without sacrificing its artistic pursuits can be made, winning huge amount of profits.

LOVE ME WELL

DIRECTOR  SHIH Li

In the 1980s Taiwan, many girls went to cities to make a living. They were working on the exports assembly line in fabric manufacturers, listening to Fong Fei Fei from the radio. I’ve been curious of what kind of hope and encouragement that age could deliver to us in modern times. I really want to revive the “restaurant show”, a unique entertainment of that age, where my first group of male and female protagonists comes across each other in the ticket office and the backstage of a Fong Fei Fei restaurant show. And then time travels to her concert in Taipei twenty years later, making it up for the unattainable love. What the audience wants to seek in the cinema is what they cannot find in real life and are anxious about. I want to present the beautiful values that are disappearing in the Taiwanese society, which are also the collective emotions that the audience want to see in the cinema.

PRODUCER  Fei Fei CHUNG

I am here to announce my determination to realize this film, to demonstrate the practicality of this project and to collect extensive financial advice. It’s a tragic comedy romance targeting the younger generation not so familiar with Fong Fei Fei’s songs. My storytelling will convince them to bring their parents and seniors, the Fong Fei Fei generation, into the cinema to restore their collective memory. It is more than a nostalgic romance. It is our attempt to reflect a dialogue about the spirit of an age, dotted with Fong Fei Fei’s songs. Even her new listeners would be moved.

DIRTY KISS

DIRECTOR  Jie LIU-FALIN

It’s easy to present visible violence like bloodshed and murder, but in real life, there exits invisible and untouchable violence, resulting in more severe consequences. I’d expose the violence hidden behind seemingly innocent affection and happenings, to show Chinese intellectuals’ perplexities in 1990s. What moves me most in Dirty Kiss is Eva’s blind faith in love. She tries her best to seek pure love in an extremely selfish man under absolutely materialized circumstances. She pursues her love, at any cost. Audience has their own interpretation of a film. For me personally, I wish the audience could rethink the true meaning of life and love after watching Dirty Kiss.

PRODUCER  HUANG CanCan & NAI An

It’s an encouragement as well as an honor for a first-time director’s project to be selected by FPP 2013. We hope to win fellow filmmakers’ attention and to find collaborators for this film on this professional platform. Our target audience is adults over 18 years old, and our focus is the Chinese-language film market.We are confident in making a high-quality low-budget film. All our current efforts are made to ensure the artistic feature of the film and its marketability.

MY TEENAGE DREAM

DIRECTOR  HAO Jie

I want to show my understanding and feelings about this era and about life in a story of a teenager pursuing his ambition in film. I also want every spectator to think about what a genuine dream and true happiness are. What moves me most is the hero’s return after lost in fame, fortune and vanity. It is not easy, but it is a wish of mine. I also hope I myself could return.I hope the audience could feel perceptions about China, about youth and about dreams and think about these themes.

PRODUCER  YANG Cheng

I want to find investors, co-production partners and distributors, to promote this film project at its budding stage. And yes, the FPP 2013 big award is also on my mind. It is hard to set a specific group of audience for the best kind of films, as labels cannot define them. But if I must describe our target audience, I would say this film is for those who have experienced youth, who have pursued dreams yet still cherish a young soul. It is a film for those who need a reflective story and a heart-stirring experience.

ON HAPPINESS ROAD 

DIRECTOR  SUNG Hsin-Yin

The social and historic changes have always looked magic to me: an animation featuring grassroots’ life is a great way to present it. I want to make a film like a combination of Forrest Gump and Persepolis about a little Taiwanese girl’s life and the society’s transformation. In an age that 3D animation rules, we use hand-drawn style to express nostalgia and humanity. We also use cute children as voice actors, whose voices are so natural that I myself am deeply touched. The absurd development of the society and history affects grassroots’ life and living. No matter how difficult life is, family and friends are always the ultimate emotional support. As I trust this film appeals to the international market, I’d like to know the trends and traces of the world market so as to make adjustments in my story and to find transnational partners to work with.

PRODUCER  YEH Ju-Feng, Sylvia FENG

The film targets adult audience in Taiwan and those in Europe, the United States and Japan, who are interested in the Third World art cinema. We hope by following the mode of Persepolis, On Happiness Road can become a box office hit.  As a senior cinephile, I am fully convinced that this is the most touching script in Taiwan in the past few years. We will present a tear-jerker that makes you laugh, a warm story with a natural touch, with the most innovative cinematic approach, in a traditional 2D hand-drawn style.

SURVIVING HAI

DIRECTOR  CHUANG Ching-Shen

I want to explore what fierce or even abnormal reaction people will have when cornered by the country and surroundings. The most touching part is the cold forensic expert CHOU Chien-Shen’s change into one who learns to cry and to let out his pent-up emotions. To some extent, he is revived. As truth reveals, he realizes in a world full of lies, one might not be able to find out what really happened, despite his forensic proficiency. I want to reflect contemporary Taiwanese society in the suspense crime genre film. Besides its entertaining and artistic values, it makes the audience ponder over the debate of justice and living.  I’d like to know more filmmakers and investors, to broaden my horizons and to seek more chances for cooperation.

PRODUCER  MA Tien-Tsung & WANG Li-Wen

As the script is still in its early stage, we would like to receive comments from and bounce ideas with as many industry professionals as possible. In the meantime, we are looking for serious filmmaking investors and strategic co-producers, to put together the best team for the production, as well as the subsequent release. Surviving Hai is a genre film with subject matter that can be related all over the world, and a plot that will intrigue adult audiences. Its plot will attract male audiences, while the characters will move female audiences.

FIGO TANGO

DIRECTOR  Chi Yuarn LEE

What walks with us like death is not despair but love. A love made in flesh, stuck in quick sand, makes one unable to move.In a certain situation, we were once lovers and then enemies, surviving care, betrayal, torture, violence and insanity. An absurd tenderness and true mercy emerge.I want to create a dizziness that you would have when you hitchhike on a deserted highway expecting a car, but there comes a spaceship.

PRODUCER  Li-Fen CHIEN

The film, targeting audiences over 16 years, has a unique style and a novel theme. With organ trafficking and the pigeon racing wonder, the film explores rare subjects in Taiwanese films and has high overseas sales potential.I can’t wait to tell the investors: invest in our winning film and make yourself a win-win!

HAPPILY EVER AFTER

DIRECTOR & PRODUCER  Heiward MAK

The original version of Happily Ever After is a beautiful romance fairy tale, a continuation to the short film Happily Ever After, but it is not a mere sequel that I want to create. What I want to present is to overthrow the happy romantic tone of the original story and to make a contrast between the illusion of a beautiful romance and the brutality of reality. A coming-up story about relationship, a probe into a woman’s conflicts and pains in marriage, romance and family, and a boy’s quest to become a man. Right now I am not sure whether I will be moved by this film or not, but I hope I can still maintain the sincerity and nature I had while making my first film High Noon. It is difficult for people to stay innocent with beginner’s mind while pursuing progress, but I want to stay honest in my creation. 27 is the end of a woman’s youth while it is the beginning that a boy learns to be a man. A seemingly happy story with cruel dark humor: as time passes by, passion and frivolity will subside. To grow up and become mature, instead of hopelessly aging. Despite what life is, we still cherish hope. This is the first time I apply for FPP and it has offered my team great assistance in terms of info and contacts. FPP inspires me to think further about my film’s positioning in the market and in seeking investors. Those do believe in marriage and those who don’t. Those who feel happy in love and those who suffer. Boys and girls. Women and men (laughs). This would be a medium budget film with a marketing positioning to touch the audience. I think a film that can touch the audience is what the market really means, not the label and boundary of the independent and commercial dichotomy. I want this film to be one that would be recalled by anybody who is going to have a baby, who is puzzled by love, and who is right now in a happy or unhappy marriage.

UP2040

DIRECTOR  CHANG43

I want to realize an ideal of mine: What else could move the young besides rock 'n' roll!? Rock 'n' roll, means staying together forever. Rock 'n' roll won’t die. Dreams shall prevail. Professional advice and experience sharing in the film industry.

PRODUCER  WU Mi-Sen

To seek overseas collaborators (mainland China and Hong Kong included) to explore the film’s potential commercial elements. Helping to create the diversity in Chinese-language films. The timeless young men who are impossible to label: those who love life (also include us, whose zest is currently dormant). This is a film that goes beyond youth, music, imagination and future. Investing is an abstruse art. Not an easy business. Our potential investors might not be super wealthy tycoons, but those who cherish a shared beautiful vision about the future. Our core value is to make sure this film’s investment will get a decent return as well as to guarantee its creative achievements.

HOW KIM SUN NAN SAVED MY LIFE 

DIRECTOR  Namewee & KIM Tai Sik

I believe the Korean Wave has taken the world; even the biggest entertainment community the Chinese-language market is no exception. We are making a black humor action film about several Chinese-speaking people from different countries going to Korea, due to Korean Wave’s invasion and their own family issues. I hope people could re-collect their passion for Chinese-language films and Chinese-language entertainment and that is why I summon up different powers from the Chinese communities in this Korea-mania film. On the way to kill a Korean star, conflicts and friendship among people from Chinese communities in different countries emerge, as well as conflicts and unions arise in different cultural contexts. Love, family and friendship are also important elements. We sincerely hope to find investors in FPP 2013 in order to accomplish a film belonging to and loved by Chinese communities in the whole world. Thank you, FPP, for this great opportunity.

PRODUCER  Fred CHONG

I believe FPP is the best platform for Asian filmmakers to reach out to the established players in the Asian film industry; it is also an excellent opportunity for filmmakers to gather and learn from each other, sharing experiences from Asian region.  Being able to be selected in such a talented group of filmmakers make us very excited and honored. We hope that this film will appeal to Chinese audience in particularly from China, Taiwan, Hong Kong, Malaysia and Singapore.  It would be very interesting to explore promoting this project in Korea as well, since half of the story would happen in Korea. A good project can come from anywhere: as a Malaysian producer collaborating with a Korean director and a Malaysian director, I believe there are many fresh concepts in our movie that will bring a truly Asian film to a different dimension. It is the differences in our Asian culture that makes Asia truly unique, and this uniqueness is what makes this movie appealing to a regional audience.

WRITTEN FUTURE

DIRECTOR & PRODUCER Gilitte Pik Chi LEUNG

A simple truth told with a complicated structure. Through multiple layers of time travel, the hero gets to know more about himself. In an era that high-tech develops so rapidly that we are getting more and more forgetful, sometimes even about our own nature. Audience can feel like what the hero feels, first be guided by signals from the future and then solve the riddle in this entertaining structure and the general myth about time travel. Not lost any more. And do remember to trust oneself. The hero’s waves of emotion: from disbelief to suspicion, and then believe, doubt, ensure and to question. These twists are one human being’s realistic reaction. There are many such people like the hero Danny, wondering what if one day I receive a letter from future times. Will I be like Danny, who does not know what matters most until the very last minute? I hope the audience could go with the hero’s emotional flow, follow him to find out the truth and feel the final blow with ensuing reflections. Only with a belief in oneself could one change his or her own future. FPP can offer one platform for me to meet more potential producers and investors from all over the world and to find more visible possibilities to improve my film project. To raise fund for Written Future, to get to know producers from all parts of the world and to seek opportunities to cooperate. To those aged 20 to 35, living a rigid life but are eager for new excitements. The Chinese-language market in Asia is my priority target, especially those who work in stuffy metropolis in Taiwan, Hong Kong and Singapore. Meanwhile, it can also be distributed in Europe not just because they could welcome foreign films outside the Hollywood system, but also because this is an entertaining mixed-genre film. One needs to believe in the future in order to change the future of film. This film’s future is now in your hands.

BOTAK CHIN

DIRECTOR  Dain Said

I wanted to re-tell the stories, myths and histories of my childhood, so that people can see the truth of that story in a different light, instead of the way it has been used as a social-political tool, to divide, sideline and demonize one race over another.The main character’s realization and awakening, when he finds out that he is not his parents child but adopted as an orphan, and this emotional thread on his state of being will run through the whole film.That they are many different people, races, ideas and truths and stories, not any One that is more important than others, because in the dominant One; therein lies the real evil.It would be great if we can get the support of better expertise in CGI and post-production facilities.

PRODUCER  Nandita Solomon HEE Dominique

We were very happy when our first project, Bunohan was selected for the Taipei Golden Horse Festival in 2012. Since that time, the Taipei Golden Horse is a place that we would like our projects to come back to. It is a great festival to learn more about Chinese-laguage cinema & the industry. It is our hope that this film resonates with fans of Asian genre cinema as well as great stories. Botak Chin has become almost an urban legend in Malaysia, and we're excited about the prospect of taking this story and making it more contemporary. 

MAKING FAMILY

DIRECTOR  Jinmo CHO 

Love… Family…Do we need to say more?These subjects have been spoken about for so long that those descriptions can be placed in museum.But because of its familiarity, these topics have a higher bond of sympathy amongst those viewers.Maybe we all know it but we are so bound to those happenings around us that we seem to not have time to love. And forget its value.To be loved, to be needed, to be protected… we hope to have someone to share this but because we tend to do what we want to do, or attend to other important things, finding that person gets difficult or delayed or… give up eventually.Yes, we spend our time to do many other things than to love.Love between a man and a woman may have an expiration date like some food product, where we tend to waver between family and love in which comes first. So I’ve tried to express these conflicts through the eyes of a child.[출처]사랑에 대한 탐구 시리즈 3탄 _ 영원한 사랑은 없다.|작성자치아A heartbroken woman assumes that she can no longer love, but suddenly feels a flutter of love at an unexpected surrounding.And a child who did not know of his dad or his identity finds his other half, his father, and fully realizes who his family is, where at the end finds his family. The audience will see and feel the love in different perspective, and be moved by it.[출처]사랑에 대한 탐구 시리즈 3탄 _ 영원한 사랑은 없다.|작성자치아All things on this planet have two sides. And the word ‘love’ has its sides too. It has meanings such as ‘spectacular, beauty, care for one another’, but it also brings ‘burden, regret, and hate’. Such surfaces are in all people, and shown during at its specific situations, or be hidden when needed. “Family” also has its meanings, and I am not trying to teach people of these meanings, but show our viewers how modern people are living, and how we modern people hold off the value of love and the truth of family value through the eyes of an innocent child. Giving viewers time to think. I believe there are same problems of such subjects in Taiwan as well, and as we study more on the two culture’s similarity, we can create a better bond that can be understood in both countries. Therefore would need to work closely with a Taiwanese writer to touch up on the scenario, and also meet the right coproduction company and investors.

Producer Seungsik SHIN

First objective is to produce this movie together with a Taiwanese production company and also induce a Taiwanese investor to run the movie in Taiwan & China.Second objective is the find a Taiwanese writer who can fully understand the dramatization, and work together to find an actor & actresses beforehand.This movie is a subject that can be viewed by the whole family, and be understood by any target audience – from a child to an aged person.To those investors from Taiwan & China, this movie has a commonality amongst Asian empathy on the value of love and family. Therefore it can be understood in Korea, Taiwan, China, Japan, and in all Asian countries. And with the proper casting for the male & female roles that is well known in all these countries, the profit return can be forecasted.To those who are interested on investing on a Korean movie, this movie’s subject contains Asian empathy that can break the cognition of joint produced movies in the past. Where the movie contain two separate cultures within its characters which is not preordained or forced. And viewers will see the similarity and the differences of the two cultures within the two families, with the result of understanding what the movie is trying to portray.

HERMAPHRODITISM

DIRECTOR  LIAO Shih Han

A few years ago in a Japanese variety show I saw a story of a transgender mother who succeeded in losing weight. The producer shot the inspirational process, but the most unforgettable part for me was the interaction between the mother, her boyfriend and her child. This family differed from others but the members had an indescribable will linking them closely. I could not help but wonder what they had experienced to shape the family, and thus came the idea of writing this story.From the children’s perspective, the film views the transgender mothers and the real world they are facing. It reminds me of the growing up process for everyone - the growing pains and gains - we are innocent but try to understand or define this world. Later we even attempt to struggle, collide or contradict our parents. In the process you stumble or even shed blood, but someday when you suddenly feel something and look back, you understand family affection, learn to tolerate and forgive. That is maturing, which is also the most touching part. Transgender theme is a small minority in Taiwan, but the theme we are depicting is universal - family affection. Apart from the hope to bring profound feelings and resonance, we also hope that from the perspective of the ten-year-old boy Dongdong, to present the transsexual family life in a playful way. This will allow the audiences to understand their situations and think if the beauty and cruelty of life are just next to each other? Whether the happy life is controlled by ourselves or by others?From the viewpoint of children, the film hopes to create a fantasy and childlike image charm. So whether the special makeup or art show during pre-production shooting or the animation effects in post-production, they all need a lot of effort and funds. The later promotion and distribution also expect vigorous investment with the creative and interesting launch.

PRODUCER  Aileen LI

Communicating with investors and distributors. Although the children's fantasy genre is rather rare in the market, it has a certain market potential. I hope to exchange with industry peers working in different roles and gain more valuable advice.The first group of audiences is the main force: the young around 20, because it is a fantasy coming of age film and it is easy to arouse resonance to youth at this age. The second group is more acceptable audiences to multi-genre films and their ages vary. The market positioning is children fantasy genre.Young directors are worth investing, especially young directors with wild imagination. Taiwanese directors are the most imaginative in the Chinese-language film market, so we hope investors will pay attention to our unusual film project.

I JUST NEED YOU

DIRECTOR  Kang LIANG

In Mainland China, visiting parents is included into the law, showing the seriousness of the solitary senior problem and social uniqueness. In the film, besides the description of these solitary seniors, I intend to reflect the problems arising from the way of life in today's society and the various problems we have to face. After two lonely people get along in harmony and feel mutual affection, the cheating girl can no longer lie to the old while the elderly is willingly to be deceived for retaining her. His only hope is to have someone with him. I hope the audiences can feel the various emotional problems and social responsibility we are about to face or facing. I also wish that they can realize the precious family affection, love and humanity beauty and relive the power of emotion.

PRODUCER  ZHAO Yu

Hope to attract excellent investors who are willing to support new directors to cooperate in developing films with cultural qualities and shooting this sincere work. We target audiences over 18, who are studying or working outside their homes, as well as the young people who don’t live with their parents after marriage. From the perspective of the story structure and temperament, it is a practical film with a strong social theme. It will apply for and take part in major film festivals, attempt to win prizes and then pull the box office. We cannot promise this to be a great box office hit, but we guarantee that it will be a sincere and high quality film.

SILENCE

DIRECTOR  CHENG Wen-Tang

In our society, some underprivileged people are oppressed by the powerful. Most would rather forget the unjust treatment as time passes. By expressing the attitude of “not forgetting”, I will emphasize that "To forget means to surrender, but some people will never give in."Eachdialogue and action in the film originates from real life and the greatest impact of human nature is also naturally generated in daily life. Without the deliberate traces, each character the audienceswill see is like their friends, relatives or even themselves. They are close but full of dramatic tensions.In this film, we can feel the characters’ attitude toward life. They laugh and smile, become angry or satirical but ultimately believe that the virtue of humanity still exists. "One can be killed, but never defeated" is most often mentioned in the film, especially when they are drinking. I hope that this attitude can be delivered to the audiences. We hope to know independent producers or investors who have international vision and understand the current situations of independent filmmaking and reach the goals of international distribution and fundraising. 

PRODUCER  CHENG Wen-Tang & James LIU

To strengthen international distribution channels and capital-raising. Domestically, we will focus on social issues with a local appeal to attract adult film audiences; internationally, our promotion focus will be the special aura of Taiwan presented by the director’s creation. It is a definitely fast-paced film, intense, profound and touching.

STATUES OF LIMITATIONS

DIRECTOR  Clement CHEN

I have always been fascinated by the act of waiting and the miseries of life; this film clashes the two immanent aspects into a crime thriller. For many people, waiting is an awful desert between where they are and where they want to go. And people do not like such a place. They want to get out of it by doing something; even a revenge scheme of murder, lasting for over a decade. Salvation often lies beneath the confrontation of an unbearable tragedy.

PRODUCER  Jacquelin LIU

The main objective is able to present the project to international and regional financiers who will shares similar field of vision with us, and also believe in us. Our targeted audiences are film lovers from all over the world and who like to see more than just a story out from a film project. Market position: ideally globe audience; practically all markets with Chinese community; basically Hong Kong, Taiwan and Mainland China. To invest in a film project needs to spend a lot of time in calculation, projection and evaluation, and at the same time it requires a lot of guts, instincts and faiths. It’s exactly what we are looking for this project, in both storytelling and investing.

BLACK CARD

DIRECTOR  Hung-I CHEN

My concerns about issues in the modern society, such as the over-development of the capitalist free market economy, the values collapsed among modern people, moral decay, especially the disappearance of the sense of justice. With the theme of "righteous and courageous", we try to re-examine the modern moral dilemma through images and stories. Also, it is an attempt to aesthetics innovation of genre films. By describing and innovating themes of "crime", "revenge", "violence", "romantic love", the film will add new ideas to genre films. Shaping and comparing roles. The hero is self-centered, indifferent towards social issues while the heroine is grateful, nostalgic and full of justice. They influence each other as the story moves on and gain positive growth. Also, by portraying other supporting roles, the film shows the multi-faceted good and evil sides of human nature. By the film, we expect that the audiences can sense and understand the various difficulties and plight in the real world. Also we hope that they can reflect upon if they are willing to be "righteous and courageous" and stand out to fight against all kinds of injustice and dark forces. I hope FPP 2013 will be helpful to both production fund and the practice of creation intent.

PRODUCER  Y.C.WEI

We want to let this film project expose in multi-ways and seek financial support. Packaging the film with "love", "inspiration" and "action", we plan to make it a successful commercial film to touch those who are still righteous, romantic or faithful, kind and beautiful. Besides the entertainment features, commercial films should shoulder the mission of social justice.

3688 

DIRECTOR  Royston TAN

Fong Fei Fei is someone that means a lot to many people. Though she is gone, her songs still provide comfort and solace for people. 3688 was born out of my love for her music and missed opportunities. One of my big regrets is that I had the chance to catch her in concert in Singapore with my parents. Unfortunately, the concert was canceled and eventually she passed away. This is my way of getting to know her and reliving the concert that I missed. The relationship between the character of Fei Fei and her father is heartbreaking for me. Also, the realization that you have been displaced in time how both Fei Fei and her father cope with this. I hope the audience will see the beauty of everyday people that may not necessarily have a big stage to perform on. Not everyone can be a superstar. Like Fei Fei's character of a parking attendant, people should never give up their dreams. Their jobs can be their stage. Through FPP 2013, I hope more doors will be open for us and we can find funding support, expand our network, and have more market exposure in multiple territories. We would also like to cast Taiwanese actors and explore co-production possibilities with Taiwan.

PRODUCER  LAI Weijie

We applied for FPP 2013 in the hope that we could find more investors for 3688 and expose the projects to more markets in the region and beyond. We believe the film will resonate with a mass audience and those who are nostalgic about key moments in their past. 3688 is a meaningful movie with many positive values and is guaranteed to be both entertaining and heartwarming. It represents a good opportunity for investors to come in as Royston has not directed a feature film in a while and many have been anticipating this work. 

THE SHADOW OF THE ASHES 

DIRECTOR  LU Yue

The Shadow of the Ashes depicts a psychological suspense story of an unscrupulous boy who escapes from punishment. His invisible conscience hides his inner problems. While in face of evil, people can never avoid eventual self-punishment. Its singularity, especially when the boy is faced with “my” innocent evil, he is not able to foresee what consequences his malicious actions would bring about due to the lack of experience. Through entering and exploring a juvenile’s deep inner world, the film will inspire the audiences to look into their own inner world.

PRODUCER  YUAN Mei

By participating in the FPP 2013, we aim to integrate various and cooperative resources, including integrated resources in marketing, promotion and copyright dealings. The film targets the 20 to 35 years old audiences who like watching suspense, psychological contest and detective films.

TOUCH OF REALITY

DIRECTOR  KAO Pin Chuan

The film challenges the gangster reasoning theme in real social issues. We show the dark side of the Taiwanese society to remind the audiences that when seeing unjust issues they should fight against it by right means and never become a part of accomplices. Screenplay suggestions and production fundraising. 

PRODUCER  Benjamin LIN

Our objective is to find investors and producers to produce this project together and prepare for the international film festivals. Generally, the film targets Taiwanese film audiences, but we also try to attract more mature audience from the Chinese mainland and Hong Kong. This is a genre film with substantial plots.

BLUE NECK RING 

DIRECTOR  LIAO Ming-Yi

Blue Neck Ring is originally a very sharp short story. During the ten years since my first contact with novels, the bullying problem has not solved; in fact, it exists outside schools. It also happens in the military, the workplace and many other places related to power. I would like to know how to eradicate it: What are the reasons of bullying? Is it the nonperformance of regime? Or is it from human nature? There are actually no real differences between the good and the evil. The bad may do virtuous things secretly; the ostensibly good people are perhaps the worst. When these two kinds of people are brought together, what will happen? Among people, an invisible energy does exist. It has nothing to do with good or evil and only produces power relations when people contact with each other. Watch oneself. Whether you are a bully, a victim or a bystander, or whether you are still in school or work, or even the company executives in any group or environment, you can find yourself in the film.

How on earth should we position ourselves in a group? Or is it destined since we were born? Blue Neck Ring needs not that much funding, or even it only needs perhaps the least of 500,000 U.S. dollars in FPP 2013. We wish to find the similar cooperative partners who are rebellious and burdenless. We can explore new type for the Taiwan market and make a great film despite a small budget.

PRODUCER  Tony YANG

Although the funding for the project is small, I sincerely invite investors who have the respect for creativity, desire for innovation and the same vision with us to work together and make Blue Neck Ring an awesome film. It is a campus horror film, explores the issues of human nature, interpersonal relationships and social system. In addition to horror film fans, we intend to gain more young audiences because neither students nor workplace newbies can live outside the power relations arose from the social structure. In recent years, since Taiwan's film market rebounds again, filmmakers have become aware of box office’s importance. However, the box office should not become a straitjacket constraining the creative pursuit. On the basis of breakeven, pursing diverse themes and innovative genre should be a healthy industry development trend in the long run. Blue Neck Ring, with the pragmatic premises, produces the maximum room for creation. Shooting a wonderful film and improving the box office will solidly ensure the breakeven and profits.

THE MIND READER 

DIRECTOR  HO Wi Ding

I've been looking for rare themes to challenge myself. Psychological thriller is the type I want to try. It is like my favorite French film Read My Lips.

The Mind Reader portrays a story between a couple. They are both talented in reading others’ mind. In their contest to see through each other, I seek the possibility for deep narration, exquisite performance and precise visual language. It also inspires me to blaze a trail in the visual expression. I prefer the human relations which are not appreciated, understood or even flawed or traumatic. The male and female protagonists Ono and Joey in the film both have rich characterization reflecting their souls. I would like to present the audiences with new film techniques and logical witty plots, like a labyrinth of the spiritual world. They will feel their love: an intrigue against each other as well as a game without victory or defeat. 

PRODUCER  WU Sisi

We’d like to find partners and reach the cooperation, with Beijing Galloping Horse Film Co., Ltd. as a solid production and distribution backup force. Our goal is to create an interesting and brightening cutting-edge film in the 2014 Chinese film industry. We target urban audiences aged from 16 to 45, mostly focus on couples and female audiences (and their friends). It is an urban romance suspense film, adding the slight features of horror and fantasy, seeking innovative visuals and storytelling. If you also have the similar aim to guide the momentous cultural trend and introduce new type of Chinese films with a global vision, please join us!

UZALA LOVE SONG

DIRECTOR  Ma Nan

This is a love story is to explore the choices of life. For various reasons, people often make choices against their will, and become accustomed to them. I really want to remind people of a forgotten truth: we only have one life. Why do you live with too many regrets? I hope this film could equip the audiences with courage to rush out from limits! What strikes me most are the film's characters. Master Lao Niu is originally a common elevator operator, while he is faithful to his "unrealistic" ideal, pursues his dream courageously despite others’ comments. His life thus becomes noble and great, and affects confused people around him such as Tan Xiaozhe. This is the power of faith! Real life is dull, especially the modern city: fast-paced with high pressure. The spiritual dimension is numb and insensitive. Personally, I form an idea that a good film should provide the chance for audiences to appreciate life's beauty and pureness within the short time in the theater. It is like the dew of rain washing the soul and it is just the nutrients they need to nourish their hearts. Here, there are more opportunities to meet investors and distributors interested in our project. As a rookie, I can be affirmed and selected by the jury, I feel encouraged. In this high level platform of the Golden Horse FPP, I am looking forward to more professional advice to help me position the film’s style and precise future market.

PRODUCER  WANG Lixue

We plan to obtain more attention and support from film investors and distributors, meet partners interested in this project, promote the film operation as soon as possible, produce high-quality films and screen Uzala Love Song in the theater soon. We aim to attract Chinese-speaking audiences and at the same time, we might shoot it transnationally, so our target audiences may also include overseas filmgoers. For this genre, it is positioned as a rom com, while in terms of the theme, it is a little serious, so it is likely to attend major film festivals and open up overseas markets. The film is a product of dream. We wish that we are able to meet you, investors who are willing to build a dream with us. We have every confidence for Uzala Love Song, both in artistic quality, or commercial selling point. It has the potential to become an excellent work! Business risks and opportunities walk together: by cooperating with the professionals, we can be even more professional!