Second chapter of Shanshui Painting series from Gu, portrays a mother and her son living amid economic turbulence in the beautiful Chinese green tea-farming landscape.

In a small county in Shandong Province in 2008, single mother Wei lives alone with her daughter Miao. A mother's desperate efforts to get her daughter into China's top universities through "college entrance exam immigration" change both of their destinies. However, this has put them into an even more precarious situation than when they started.

Gu Wentong, a middle-aged food critic, is drifting through the local eateries of vibrant Beijing with his younger photographer colleague Oyang. A divorcé with a 6-year-old daughter and estranged from his father for decades, he is looking for a new perspective on life while reconsidering his failings as a father, a son, and a lover. While the seasons come and go, people get together and move apart. Only one thing will remain the same: The White Pagoda where they all meet sooner or later.

In the 1990s, a group of students on the campus of the Chinese Southern Academy of Arts are pursuing their studies and preparing to face the world. China is opening up to the West and the students’ lives are a tangle of love stories and friendships, artistic research, ideals and ambitions brought about by new influences. Caught between tradition and modernity, they have to decide who they want to become.

Zuo Shouquan is the director of the morning paper in a north-eastern city. He has a daughter, Zuo Mingming, who lives with his ex-wife. The girl is neglecting her studies. She is not particularly interested in her education. Her father wants her to move and start working at his newspaper. Zuo Mingming won’t have it; she plays in a band and her only dream is to pursue a musical career in the south. Father versus daughter, north versus south – a deeply rooted conflict between different systems of values in a contemporary Chinese comedy.

Crew member Lei Menghan, unable to repay his debts and with nowhere else to turn, reluctantly agrees to his ex-wife's request to take care of her current husband, Hua Chengzhi, a primary school principal who is paraplegic. In return, she promises to lend him the money needed to settle his debts. Throughout their time together, Lei Menghan and Hua Chengzhi face numerous challenges but gradually earn each other's trust through genuine efforts. Ultimately, after a series of events that bring them closer, they support and help each other grow. Together, they rekindle hope in their lives during their lowest points.

This is a story that takes place at night, with street corner restaurants, streetlights, a rain, and people coming and going, witnessing the missed and missed experiences of a father and daughter.

Shanghai Bund in years of isolation. Zhou Qifang, president of the Sea Breeze Chamber of Commerce, and his protégé, Lu Nansheng, fight to the death against Saito, a Japanese young general, in a life-and-death battle.

The player of Jia Zhangke's early film "Xiao Wu" and the famous independent film activist Wang Hongwei talked about Chinese independent films at the IFF Independent Film Forum.

A voyage between a woman searching for the meaning of life and a man holding a book of poems on the longest river of Mainland China.

When a drunken passenger causes taxi driver Lao Shi to swerve and hit a motorcyclist, he stops to help the victim. As no ambulance arrives he drives him to the hospital, but soon has to face the rules of today's Kafkaesque China. With his family and life endangered, he desperately seeks a way out.

Five shorts reveal a fictional Hong Kong in 2025, depicting a dystopian city where residents and activists face crackdowns under iron-fisted rule.

Chinese filmmaker Jia Zhangke returns to the shooting locations of his films, along with his actors, friends and close collaborators. Jia recalls the inspiration sources for his movies, such as Platform, Still Life and A Touch of Sin. The film is the memory of a filmmaker and of a country in convulsion, China, which reveals itself little by little.

Four independent stories set in modern China about random acts of violence.

An ancestral city; through its delicious botanical garden and its branched canals, we observe the clues and traces of its ancient culture. Two couples of men and women, former lovers, meet again one year later. The yesterday's breath of youth is still perceptible in their conversations. Is it still possible for us to love? Does youth really have an end? Like the networks linking the old city, what type of ecological existence does their culture require? Written by Venice Film Festival

Non-narrative series of shots: in factory, sex workers etc.

Modern China. On a bright sunny day, in a building site, an industrial complex is being deconstructed. Night falls. The ruins of the factory are empty and silent. Phantoms appear, voices are heard, telling their stories....From the anthology The State of the World.

A town in Fengjie county is gradually being demolished and flooded to make way for the Three Gorges Dam. A man and woman visit the town to locate their estranged spouses, and become witness to the societal changes.

A young dancer, her security-guard boyfriend and others work at World Park, a bizarre cross-pollination of Las Vegas and Epcot Center where visitors can interact with famous international monuments without ever leaving the Beijing suburbs.

Two disaffected, unemployed Chinese youth drift through life on the streets of their industrial town, their paths crossing with that of a dancer who advertises for a liquor company.

During the Cultural Revolution, two young men are sent to a remote mining village where they fall in love with the local tailor's beautiful granddaughter and discover a suitcase full of forbidden Western novels.

China's rapid changes from the late-1970s to the early 1990s, as seen through the lives of four performers in a theater troupe.

A small town pickpocket whose friends have moved on to higher trades finds himself bitter and unable to adapt.

Xiao Shan, a temporary worker at the Hongyuan Restaurant, has just been fired by his boss Zhao Guoqing. Deciding to leave Beijing and returns to his home in Anyang, he goes to see a series of people from his hometown who have also been living in Beijing-construction workers, train ticket scalpers, university students, attendant, prostitutes-but no one wants to go back with him. Dispirited and confused, he searches out one after another of his old friends who are still in Beijing. Finally he leaves his wild long hair, the symbol of his life in the city, at a roadside barber stand as his offering to Beijing.