A growing group of young adults in Goma in the Democratic Republic of Congo are resisting the one-sided reporting about their city; reporting that only shows stereotypical images of war, violence, illness and poverty, which is the result of years of Western domination. Such images do not reflect the reality in which they live in. In STOP FILMING US, filmmaker Joris Postema shows the struggle that journalist Ley Uwera, photographer Mugabo Baritegera and filmmaker Bernadette Vivuya deal with when trying to capture and show their own experience of life in Goma. There are 250 Western NGOs in Goma and the image of a non-functioning government and a helpless population fits into this NGO-dominated economy. Mugabo tries to show the beauty of life in Goma and Bernadette tries to do everything possible to finance a film about her vision of Goma's colonial past. Ley also works for Western NGOs and because of this she regularly finds herself in an ideological battle: either work for a well-paid Western reporting organization or work unpaid as a freelance reporter but be able to have her own opinions. What are their perspectives and how do they feel about the dark sides of Goma? The question arises whether a Western filmmaker is able to capture anything of truth about this complex, damaged and beautiful country. Is this even possible after the way the Western imagery has been used? Is the filmmaker part of the 'white savior complex' and just wants to clear his conscience? Do Western 'good intentions' only cause destruction and frustration? With the open confrontations that the filmmaker enters into with the characters and the local crew, he tries to bring the mutual (subconscious) assumptions to the surface; the prejudices provide a deeper insight into the inequality of power that lies under the mechanism of Western imaging.

Sodar was born with a romantic personality, spiritually-led to dedicate to Tibetan Buddhism. He entered the biggest Buddhist Academy in the world at 6, and vowed there to be a monk for life. As China changes rapidly, his brief encounters with the profit-driven mainstream society have planted seeds of disturbance in his life. He also struggles with a temptation for romance as his childhood sweetheart persists to express love to him. Later，Sodar quits his religious life and gets together with a girl who has waited for him for 17 years. But in Tibetan Society, A Lama get back to secular life consider a disgrace for his family because this behavior is a serious damage to Tibetan culture. Sodar has to face the pressure from the community and start to live with money.

Margaret Leng Tan, her five-decade career has positioned the musician as a figurehead of avant-garde music, owing in part to her unique incorporation of the toy piano in her performances. A close associate of the late John Cage, we meet Leng Tan at the age of 71 as she embarks on an iconic collaboration with George Crumb, one of the last remaining avant-garde composers of his era. TWINKLE DAMMIT! gives access to the rarely-seen creative process between two musical geniuses, and peels back the public layers of the world's greatest toy piano virtuoso to explore the private obsessions that have led to a life committed to art.

After a massive earthquake razed a Chinese city to the ground, thousands of parents are encouraged to replace the children they lost, so they can move on with their lives. AFTER THE RAIN follows two of these families for over a decade. Haunted by fear, resentment, and unspeakable grief, the families find hope beyond their intergenerational trauma to build towards an uncertain tomorrow.

Tong Meimei's father committed suicide when she was three, then she lost her husband in a car incident when she entered middle age. Sunteck Yao was raped by a stranger when he was 12 years old hiding from the rain, he has isolated himself ever since. For them, life is an infinite extension of pain. When the film crew came into their lives, old wounds were torn apart, the director was forced to reflect on the ethics of the film and himself.

In 1938, to preserve the Chinese culture and heritage during the War of Resistance against the Japanese Invasion, Beijing University, Qinghua University and Nankai University merged to form the National Southwestern Associated University (Lianda) in Kunming. This documentary delineates a group of Lianda students with an average age of 96, ranging from 90 to 105. This star-studded "Age-90+” group is composed of academicians of the two academies (Chinese Academy of Sciences and Chinese Academy of Engineering), writers, translators, and Nobel Prize winners, winners of the "Two Bombs and One Star" Meritorious Medal, winners of National Prize for Key Progress in Science and Technology, and former state leaders. At the core of this documentary are the rare and valuable narrative and memoire of these Lianda students (the narrative being exclusive and irreplicable). From their individual life history is unfold a part of the history of Lianda that is great and legendary.

“KungFu Stuntmen: Never Say No!”is directed by Junzi Wei, the main crew has spent over 3 years digging achieves and interviewing hundreds of talents that includes the most prominent seniors as well as newbies, which takes a behind-the-scenes glance inside 70-year history of HK stunt industry. From the early action pioneers to the first hero of Kung Fu movies, stuntmen took a place in films and created new wave towards handover in 90’s till present. The rise and fall of stunt industry presents a reflection like Hong Kong city itself.

The painter of sheep herding is a documentary produced by Yumen media center, starring Fan Junjie and Sheng Meiling. The film takes the family life of a farmer in Sanjia village as the line, records his life bit by bit, and shows the audience the most common rural life in China in transition.Although fan Junjie's family is poor, he has been pursuing artistic creation for 30 years. His wife Sheng Meiling is a straightforward, pragmatic and capable typical rural woman. One is the pursuit of the spiritual world and the other is the yearning for material life. He and his wife confront each other and depend on each other at the same time.

What is the key to open the door to understanding Yuyuan Road? Yuyuan Road, 2,755 meters long, like a touch of pale blue ink in Shanghai history. The significance of what it experienced may go beyond its physical length. The road with the rows of old buildings, which reflects the intricate modern Chinese history of 100 years, where the stream of people flows through. Following a young man born here, the film attempts to gather the memory fragments scattered on Yuyuan Road, and re-assemble a giant puzzle including the small and simple lives traces of someone and great and complicated times changes.

“Walking around mountains” is a way of pilgrimage of believers hiking or knocking heads around mysterious mountains for a week or several weeks. In November 2015, with the leadership of Jiang Chu, Tibetan residents, living in Biyonggong village Diqing satte Yunnan province, stepped on their pilgrimage road to Kawakarpo (Meri Snow Mountain). Among of it, there are grandfather Dunzhu at 74 years and Jiangba at our years. The hard journey of going through the rigors of living in the wilderness for 18 days and pilgrimage on snow mountain and allies for 700 kilometers exhibit a moving story.

The story of Shaista, a young man who—newly married to Benazir and living in a camp for displaced persons in Kabul—struggles to balance his dreams of being the first from his tribe to join the Afghan National Army with the responsibilities of starting a family. Even as Shaista’s love for Benazir is palpable, the choices he must make to build a life with her have profound consequences.

Candido and Cres, a couple of oyster-diver brothers, carry out a simple lifestyle at the Jalisco coast. When the sea gets rough, and one of them falls ill, their special bond will help them carry on.