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In a tiny Chinese fishing village, two rival fishermen compete for a young woman's love. She does love one of them, but as she is obligated to the other, she cannot marry him. Tragedy is averted when the one she is obliged to falls in love with another. Happiness briefly ensues as the men, with their respective mates, resume their friendship. Unfortunately, they set out to sea and disappear.
Xiaofeng is selling medicinal herbs in Longshan Temple, but is at first driven away by Taiwanese peddlers upset by the intrusion of a mainlander into their business. Later, Xiaofeng auditions for a radio station, where a young Taiwanese man is attracted to her and finds he is soon in competition with a photographer from a mainland family.
During World War Two, two Japanese army soldiers, Fan from Macau and Zheng from Taiwan, observe the Japanese hiding treasure in the mountains of Malaya. They make a treasure map and keep half each. Later, Zheng’s brother finds out Fan has died. The film opens when Zheng’s brother goes to Macau to buy the other half of the map from his friend’s descendants, having sent his niece Shufen (Liu Qing) and son (Ba Ke) to wait for him in Malaya with their half. But after a series of double- crossings and betrayals, Shufen and the boy set off to search for the treasure alone, with the Macau triads and the police in hot pursuit. At their moment of greatest danger in the jungle, the Taiwanese Tarzan (Gao Ming) swings onto the scene to save them.
Due to his injury, 30-year-old ballet dancer LIANG Shih-huai is forced to put his dance career on hold. While nursing his body through recovery, Shih-huai retraces his tenacious pursuit of ballet from Taiwan, U.S., South Korea, to New Zealand, and he carefully thinks through the options available at this pivotal moment in his career. Ballet in Tandem centers on Shih-huai’s journey in dance and compares it with different generations of Taiwanese dancers’ quest for perfection in Western classical dance. Through these stories, this films questions the decision-making process in Taiwanese education system and in other related social institutions, challenges the stereotypical perceptions of the art form, and explores more possibilities for dance, art, and culture in Taiwan.
