China marks the beginning of the extensive Asian theme in Ottinger’s filmography and is her first travelogue. Her observant eye is interested in anything from Sichuan opera and the Beijing Film Studio to the production of candy and sounds of bicycle bells.

Filmed over three years on China’s railways, The Iron Ministry traces the vast interiors of a country on the move: flesh and metal, clangs and squeals, light and dark, and language and gesture. Scores of rail journeys come together into one, capturing the thrills and anxieties of social and technological transformation. The Iron Ministry immerses audiences in fleeting relationships and uneasy encounters between humans and machines on what will soon be the world’s largest railway network.

On April 6, 2001, a gas explosion occurred in the Chenjiashan Coal Mine of the Tongchuan Mining Bureau in Shaanxi Province, killing 38 people. On November 28, 2004, a gas explosion occurred in the Chenjiashan coal mine, and 166 people were killed. Five years later, Lin Xin, the son of the miners, filmed this film about mine disasters. Through the oral interviews of more than 20 people, such as miners and family members of the victims, and random interviews on the street, the film presents the real life of the miners and the cruel and complicated social reality behind the mine disaster from different angles. This film is the end of Lin Xin's "Trilogy of Survival".

In order to face his 30th birthday, the author of the film began to implement a long-planned plan for the Dragon Boat Festival, bringing a dog, a computer, some vegetables and eggs to the dilapidated yard on the north side of the mountain in Pingyao County, where he will live alone for more than a dozen. Day and night, organize and pack the first half of my life, recall and think, talk with the self in the device, and smoke, silence, think or sing with the middle-aged neurotic who comes to ask for cigarettes every day.

Class 172 is a key class for their excellent students of an ordinary secondary school in Hunan province, from which the kids’ main goal is to upgrade into one of the best province-level high school – No.1 high school of the county. In the recent few years, the school’s enrollment rate to high school was not quite satisfying, and this year, the newly promoted class in charge teacher – Mr. Xiang, who’s only graduated a few years ago, became their brightest hope to teach the students and raise the enrollment rate for school.

The documentary film, The Road, reveals the status of 22 students who study in a private village school in Hunan Province. Through in-depth interviews, the inner world of these “left-behind children” who are lack of parental love has been explored. We hope that through this film, we could hear the responses and actions from our society.

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.

I just watch the news of war in a distant country on my mobile. My fingers go back day by day to the day the war broke out and pose to see comments posted on the Facebook News Feed that I follow. Outside, I have friends who participated in anti-war rallies.

A silent film by Vietnamese director Truong Minh Quy in collaboration with Belgian director Nicolas Graux, was shot on the set of a film by Graux. We Sit in Silence at the Memorial Table is inspired by Educational Objectives, a poem written by Aleksey Garipov and translated to English by Nicolas Graux.

"If the old doesn't go, the new never comes" recites a teenager hanging out near a demolition site in the center of Chengdu, the Sichuan capital in western China. In Demolition, filmmaker J.P. Sniadecki deconstructs the transforming cityscape by befriending the migrant laborers on the site and documenting the honest, often unobserved, human interactions, yielding a wonderfully patient and revealing portrait of work and life in the shadow of progress and economic development.

A short documentary that captures the longest total solar eclipse of the 21st century, The Yellow Bank takes you on a contemplative boat ride across the Huangpu River in Shanghai, China. Filmmaker J.P. Sniadecki, who lived and worked in Shanghai nine years earlier, uses the eclipse as a catalyst to explore the way weather, light, and sound affect the urban architectural environment during this extremely rare phenomenon.

Follow the lives of the elderly survivors who were forced into sex slavery as “Comfort Women” by the Japanese during World War II. At the time of filming, only 22 of these women were still alive to tell their story. Through their own personal histories and perspectives, they tell a tale that should never be forgotten to generations unaware of the brutalization that occurred.

Part mournful meditation through documentary footage, part experimental narrative. This film looks at the life of the Chinese who have been displaced within their own society.

A soon-to-be first-time voter, the filmmaker’s thought-provoking journey into the Rust Belt and South captures four Asian American voters’ ardent first time grassroots political participation ignited by the 2016 rise of “Chinese Americans for Trump.” FIRST VOTE is a character driven cinema verité style film chronicling the democratic participation of four Asian American voters from 2016 through the 2018 midterm elections.

The "Great Sichuan Earthquake" took place at 14:28 on May 12, 2008. In the days after, ordinary people salvage destroyed pig farms in the mountains, collect cheap scrapped metals, or pillaging other victims' homes. Behind the media circus of official visits is an inconsolable grief of families searching for loved ones. As the Lunar New Year approaches, vagabonds and family tell of the ill-handling of rebuilding schemes and misuse relief funds. As they prepare for another visit from a high official, the refugees are swept out of the town and into tent cities. The promise to put a roof over their heads before winter seems impossible to keep.

One long tracking shot through a park in Chengdu.

The film is director Gao Zipeng’s first fiction film which takes three years to complete. It premieres on March 27, 2001 in UCCA and stars the poet A Jian, Xiao Zhao and the writer Gou Zi. The film is based on a true crime of disappearance. It creates an atmosphere of what Ma Zhiyuan, a celebrated poet and playwright of Yuan Dynasty, portrays in his famous poem “Autumn Thoughts”: Over old trees wreathed with rotten vines fly evening crows/ Under a small bridge near a cottage a stream flows/ On ancient road in the west wind a lean horse goes/ Westward declines the sun/ Far, far from home is the heartbroken one.

In 1994, the oil-rich city of Karamay in Northwest China was the site of a horrible fire that killed nearly 300 schoolchildren. The students were performing for state officials and were told to stand by while the officials exited first. After the fire, the story was heavily censored in the Chinese state media. To this day, the families of Karamay have not been allowed to publicly mourn their children.

Set in a quasi-ghost town that once thrived with oil in China's arid northwest, Yumen is a haunting, fragmented tale of hungry souls, restless youth, a wandering artist and a lonely woman, all searching for human connection among the town's crumbling landscape. One part "ruin porn", one part "ghost story”, and entirely shot on 16mm, the film brings together performance art, narrative gesture, and social realism not only to play with convention and defy genre, but also to pay homage to a disappearing life-world and a fading medium.

To commemorate the 70th anniversary of the victory of WWII, this documentary film describes the eight years of dauntless air-force fighting of the republic of China during the Anti-Japanese War, with only 300 combat-capable aircraft from China while Japan had over 2000.