Untitled 77-A
Han Okhi | 1977 | 16 mm transferred to digital video | Colour | Sound | 6 min.

Han Okhi’s's Untitled 77-A demonstrates how inner turmoil, self-awakening, and emancipation can be expressed in both the private and public spheres from a female perspective. The film depicts the artist’s confrontation with 1970s Korean society, using both her camera and body as weapons to challenge patriarchal dominance and censorship during one of the most repressive decades in Korean politics and cinema.

Dysfunction No. 3
Chen Chieh-Jen | 1983, restored 2017 | 8 mm film transferred to digital video | Colour | Sound | 10 min. 19 sec.

The street performance Dysfunction No. 3 arose from artist Chen Chieh-Jen’s desire to literally put his body on the line—in his words, ‘to collide with the prevailing system’. Made as an election protest at a time when public demonstrations in Taiwan were strictly outlawed, Chen and four collaborators, dressed identically in red hoods, black blindfolds, and bandaged feet, marched in single file down a heavily policed Taipei street, ultimately evading arrest by pretending to be filmmakers.

Revolutions Happen Like Refrains in a Song
Nick Deocampo | 1987 | Super 8 transferred to digital video | Colour | Sound | 48 min. 33 sec.

Revolutions Happen Like Refrains in a Song recounts filmmaker Nick Deocampo’s personal experiences as they intersect with major historical moments. Combining Super 8 home movies, personal photographs, and archival footage, the film documents Filipino life caught in the throes of poverty, prostitution, and revolutionary change, including the People Power Revolution that toppled President Ferdinand Marcos’s regime in 1986.

Han Okhi (b. 1948, South Korea) is a pioneering filmmaker, best known as the founder of Kaidu Club, Korea’s first feminist film collective. Established in 1974, this collective combined explicitly feminist perspectives with experimental film practices. After the collective dissolved in 1978, Han Okhi continued her career abroad, studying filmmaking in Germany, founding her own production company, and serving as a correspondent and juror for various film festivals.

Chen Chieh-Jen (b. 1960, Taiwan) is a prominent figure in Taiwanese contemporary art. After martial law ended in 1987, Chen spent eight years researching Taiwanese history. In 2002, he embarked upon a career in filmmaking, collaborating with migrant workers, factory workers, squatters, the mentally ill, the unemployed, and other marginalised communities in Taiwan, to create hybrid documentary-fiction films that capture under-recognised stories.

Nick Deocampo (b. 1959, Philippines) is a multi-awarded filmmaker, film historian, and pioneering advocate of queer cinema in the Philippines. A critical advocate for alternative cinema, Deocampo is particularly interested in the struggles of queer and other marginalised communities, as well as the sociopolitical situation during the martial law regime in the Philippines in the 1970s.