東日本大震災により甚大な被害を受けた岩手県三陸海岸を舞台に、大津波を生き抜いた神楽とこの地に暮らす人びとの生活のベースにある力強さを描いたドキュメンタリー。三陸沿岸150キロにおよぶ地域の人びとの人生に寄り添いながら、神々や精霊が息づく三陸の地を340年以上にわたり神の使いとなって巡行の旅をつづけている「廻り神楽」。三陸の大津波を生き抜いた神楽衆が以前と同じように海辺を巡りはじめる。奏でる音色が死者を鎮魂し、海に生きる者の心を支える神楽衆たち、そして海と向き合いながらこの地に住み続ける人びとの日常が描かれる。

Shadow and Act navigates through the remains of Chaya Jitrakorn, built in 1940, once the most prominent photo studio in Thailand and the only preferred studio of director Field Marshal Plaek Phibunsongkhram. The iflm explores the studio's seventy two year archives and its owner's personal photographs, while representing the defunct studio like the corpse of a deceased giant. The film experiments with the relationships between memory and space, and the past and future.(https://www.acc.go.kr/en/board/schedule/event/2610)

Ho Tzu Nyen’s multichannel video installation The Cloud of Unknowing (2011) explores the expansive subject of the representation of the elusive and amorphous cloud. Inspired by philosopher Hubert Damisch’s thesis on the form’s aesthetics and symbolism, A Theory of /Cloud/: Toward a History of Painting, first published in French in 1972, Ho’s work incorporates a set of eight compartmentalized vignettes, each centered on a character that stands for the cloud’s representation in historically significant Western European artworks by artists including Caravaggio, Francisco de Zurbarán, Antonio da Correggio, Giovanni Lorenzo Bernini, Andrea Mantegna, and René Magritte, as well as the Eastern landscapes of Mi Fu and Wen Zhengming. This incorporation and blending of cultural, historical, and philosophical references, both Eastern and Western, is prevalent in Ho’s practice, which references painting (EARTH, 2009), pop music (The Bohemian Rhapsody Project, 2006), literature (The King Lear Project, 2008) and philosophy (Zarathustra: A Film for Everyone and No One, 2009).