来自老挝琅勃拉邦的拍摄者Ka Xiong，以纪录片《祖母的世界》记录了祖母的生活、盼望和记忆，并为我们展示了老挝北部山区苗族社区的一个文化侧影。

“This film will be an homage to our grandma who meant so much in our lives. We want to arrest time and make a small portrait of her now she is still with us and able to talk.The film is also a memento for the Hmong way of life that has stayed unchanged for many generation but is disappearing now.”—Ka Xiong

来自中国西双版纳勐宋村的哈尼族画家妹兰，以自己的成长经历为基础，将记忆中的哈尼族传统童谣及游戏方式以动画的方式呈现出来，最后在云南财经大学、云南艺术学院的学生们的协助下制作了这部《忆童年》。

Remembering Childhood is attempts to explore the relationship between Ahka people’s childhood and traditional Ahka culture at 1980s. It is also about the memories that the Ahka painter Maer Lanq wants to keep.

来自缅甸掸邦的23岁女孩

Jupiter，在缅甸爆发第二波新冠疫情之际，以一部《生活依旧》对自己的身份、成长路径、家庭关系进行了深入的剖析，也为这个时代写上一个面对黑暗、倾洒光明的注脚。

In order to control the influence of the second wave of covid-19, Yangon, Myanmar's largest city, began to restrict urban traffic and public access. Nang Mhwe Ngin Seng, a filmmaker from Shan state, focuses on her life with her roommates during the blockade in Yangon….

来自泰国的电影人、艺术家Nontwat，近年一直在以剧情电影、纪录片以及多媒体艺术的方式关注从缅甸迁徙到泰国工作生活的掸族人。Nontawat在探访了清迈的多个掸族聚居区之后，决定拍摄一位在清迈生活了七年的掸族僧侣。观众也将跟随他的镜头去了解这个庞大却长期“未可见”的群体。

This documentary is about a Young Monk from Shan state of Myanmar who has been living in Thailand for more than six or seven years. Being a monk makes his life easier. But he doesn’t know if he is going to be a monk his whole life…

《佐米亚之歌》是导演对自己逾20年影像素材的梳理。在参与“澜湄之眼”项目期间，他尝试了多种剪辑方法，最后决定将多个泰国北部山区的民族音乐合在一起。

Santiphap Inkong-ngam, a video and installation artist from northern Thailand, Since 2012 until now, he has been conducting ethnic cultural research and collected many videos and music in the vast mountainous areas of northern Thailand which is subsumed in the Zomia area by scholars…

导演将他的镜头对准了自己的表嫂——一位从老挝嫁到西双版纳的年轻姑娘，玉罕。影片中的一系列对谈，反映出了边境地区跨境婚姻的困境及希望。

Cross border marriage has been widely existed in many frontier villages in Xishuangbanna. Yu Han, the wife of filmmaker I Han Phap’s elder cousin is a girl from Laos who married in Xishuangbanna. Thus I Han Phap made a documentary and try to understand her living conditions and inner thoughts.

“阿尺目刮”在傈僳语中意为“山羊的歌舞”，这种歌舞发源于中国维西傈僳族自治县澜沧江流域。纪录片《轮椅上传承的阿尺目刮》的主人公是当地一个力图传承这种歌舞的民间群体。拍摄者余明光（傈僳名：斯噶咱）自己本身也是这个群体的一员，因此，这部影片为我们带来了文化传承工作中更有血有肉的故事。

In the film, a group of Lisu folk musicians spent 10 years only to bring the most authentic Ah Chi Mu Gua back to life, and hand it back to the people. When the work is done, the crew returned to their homes with nothing but debts...

另一位傈僳族拍摄者，Zaw Lar，来自缅甸北部紧邻中国的克钦邦。尽管《山农》是他的第一部纪录片，但影片具有很高的完成度，并展示出了作者的个人风格。影片记录了四季变迁之下，傈僳族在边境山地的耕种方式。这部影片超越了关于山地农业的田园式宏观书写，恰到好处地表达了作者对个体命运的思考与关怀。

LISU's ethnic traditional cultural work for a living is Mountain Farming. Mountain Farming still exists even in this globalization era. But now a day, LISU farmers are facing difficulties getting a new land for Mountain Farming…