在一座把人視同動物的工廠裡，一尊神秘木偶能實現一切關於成功的願望。一名年輕工人虔敬膜拜，終登事業高峰，卻在某日意外窺見另一個世界，萌生改變的渴望。本片融合生物影像、手繪、停格與實拍技法，以「工＝力×位移」的物理公式為引，探問我們為何工作，又該如何定義人與工作的關係。

Force Times Displacement is a 12-minute surreal animation blending bio art, photography, traditional Taiwanese music, and illustration. Set in a factory that echoes the structures of school and labor, the film asks: What does it truly mean to “work”? It reveals a world of survival, faith, ambition, and yearning.

臺灣是一塊被海洋環繞的島嶼，但島上的人們似乎都不瞭解海上的事情。

本片記錄下東港漁工被冤的故事，這起冤案的癥結來自司法體制對遠洋漁業和海洋文化的陌生與誤判，不理解海上的勞動條件及環境，以城市社會的認知決定了一個人的自由與生命。

主角陳火盛因冤獄而錯失9年的時光，平反出獄後的他已是高齡勞工，除了返回海上捕魚，他沒有別的選擇。外籍移工現今已成遠洋漁業的主力軍，高齡的漁工只能選擇近海捕魚作業，彼此的生活和生計一起被壓縮在幾坪的小漁船中，不論高齡勞動環境多惡劣，他只能背負著司法帶給他的謬誤，繼續往前行。

Sixteen years ago, Chen Huo-Sheng was a captain and also the central figure in a drug trafficking case. He believed the justice system would eventually clear his name, not knowing that the clouds of injustice are harder to escape than pirates at sea.

The formation of a wrongful conviction seems complex, but upon closer examination, it is not difficult to understand. But the question is: does injustice only have one face?

Chen Huo-Sheng may have been wronged, but the drugs were indeed brought back through him, and a seemingly unintentional mistake resulted in an 18-year sentence. Through this case, the film explores Taiwan's judicial structure in greater depth.

花嶼，澎湖最西端的偏遠離島，全島不到百人居住。男性出海捕魚，女性採集持家，各司其職在島嶼上生活著。以男性為主導的漁村島嶼裡，數十年來往返潮間帶的婦女春枝，及島上經營雜貨店多年的老闆娘阿美，在島嶼無常與日常之間，持續承載著島嶼的變遷。以日常鏡頭凝視女性的勞動，呈現台灣島嶼邊陲的性別勞動韌性與力量。

On Huayu, a remote island in Penghu, life moves to the rhythm of the seasons and tides. While men go to sea, women sustain life on land. Through the lives of a veteran intertidal forager and a longtime local shopkeeper, this intimate portrait captures the resilience and adaptability of women within a traditional gendered division of labor.

熬過電子廠大夜班後，菲籍移工Johney發現一群陌生男人竟將她的宿舍搬空，擺進怪異的工業機具，還嚷著要來「看現場」；Johney與這些男人爆發激烈衝突，除了保護自己的家，還為了隱瞞一個藏在屋內的秘密。本片以台灣勞動力群體「移工」所遇到的衝突為出發點，觸及移工配額問題以及黑戶生育問題，更進一步抖出盛行於台灣中南部的「假工廠」議題。當配額成為可以被生產與製造的數字，移工成為單純的勞動力而非人，就會不斷地有看現場的事情發生，也會每天上演如此的勞權侵害事件。《看現場》試圖從最微小的地方，反思整體勞動結構的問題。

After a grueling night shift, Johney, a Filipino migrant worker in Taiwan, returns to find strangers clearing out her dorm, claiming to be “inspecting the factory.” As tensions rise, she fights to protect her home—and a secret she has kept hidden inside.

《追風者》描繪兩位三十歲外送員小齊與阿源，在都市街頭穿梭的日與夜。他們在奔跑中維繫兄弟情誼，一邊還債，一邊尋夢，在疲憊與陪伴中度過生活的縫隙城市中。小齊，為了還四百萬的債而拼命跑單，每天工作14-15小時，持續五年重複的日子；同儕阿源，身無一技之長卻滿腔熱血，一直是Uber Eats排名的優良外送員。有朝一日希望能脫離外送圈，開店創業當老闆，擺脫貧困人生。日復一日，有人選擇暫時留下，努力奔波，任勞認命；有人悄悄離開，踏上說走就走的旅程，只為尋找浪漫的自己。徬徨的三十歲，惺惺相惜的友誼。他們等待一個更好的機會離開這裡，邁向一個更自由的地方。

Lone riders in the wind.

Chi, driven by debt, takes order after order, working 14 to 15 hours a day—five years of relentless repetition. His peer, Yuan, though lacking formal skills, is full of determination and consistently ranks among the top Uber Eats couriers.

At the uncertain age of thirty, a quiet but deep bond connects them—kindred spirits always on the move. They wait for a better opportunity, not only to leave this place behind, but also to pursue their dreams. In the end, they ride toward a freer place.

人說「天上一日，地上一年」，但在旋轉犀牛的動畫世界裡，時間的刻度是相反的。在這裡，伙伴們一整天的勞作，僅僅為了換取動畫世界裡珍貴的「三到五秒」。停格動畫，是一場極致耐心的修煉。創作者在真實世界中，逐格挪動人偶、物件，每一次指尖的微調，都得細膩專注。在這個虛擬又真實的時空裡，他們將每一秒切割成10個瞬間。為了讓時間推進一秒，他們必須在這微小的空間裡，手動調整十次物件：那隻搖尾的貓、正要推開門的孩子、滿手黑油修著機車的男人，⋯⋯每一格，都是創作者屏息凝神後的生命賦予。

There’s a saying: “One day in heaven equals a year on earth.” But in the animated world of Spinning Rhino, a stop-motion animation studio, time runs in reverse. Here, an entire day of labor is devoted to earning just three to five precious seconds of animation.

Stop-motion animation is the ultimate discipline of patience. In the real world, creators move puppets and objects frame by frame—each minute adjustment of the fingertips demanding intense focus and care. Only when these still images are played in sequence does life finally awaken on the screen.

Within this space that is both virtual and tangible, every second is divided into ten moments. To make time advance by a single second, objects must be manually adjusted ten times: a cat swishing its tail, a child about to push open a door, a man with grease-blackened hands repairing a scooter, or a woman savoring her snacks… Every frame is a breath-held act of creation, life carefully bestowed.

菜鳥外送員，為了些微的加成獎金，接下流傳已久的鬼訂單。硬闖山林的他，一步步掉進異世界陷阱，成為恐怖輪迴的一環。

靈感來自一位導演因外送摔斷腿的親戚，他無法從平台及法規獲得應有保障。新聞中也常報導外送員為趕時間、搶單而發生意外，讓我們開始思考，將這份充滿未知與危險的職業放進故事中，會發生什麼？

外送員的每份訂單，都像是一部恐怖片，他們為了獎金與生活在僥倖心理與現實壓力間做出選擇。可怕的並非鬼怪，而是明知危險，仍說服自己前進。希望觀眾在驚嚇之餘，也能看見外送員的工作處境與風險，多一份理解與包容。

A rookie food delivery rider accepts a legendary ghost order for a small bonus—only to be trapped in a terrifying loop deep in the haunted mountains.