An oil baron and a farmer standoff after the water on his farm is poisoned by her company.

Jason, an American lawyer, poses as a john to build a legal case against a pimp trafficking girls to Bangkok. Can he win the trust of a young prostitute known only as Number 18 and convince her to risk her life to testify against her pimp?

Music producer and composer Ha Rib made a contract with the devil to trade his soul for fame. This devilish transaction brought him all the fame he could ask for, producing many hit songs. As the contract expiration draws near, he bargains with the devil for an extension. For that, he must find another person to sell the soul. Ha Rib finds a perfect candidate, but contemplates because she would have to suffer for 10 years for his selfish fame.

A troupe of clowns gather to perform a story about a priest and a refugee, but as their misguided tale unfolds, the boundaries between fiction and reality begin to fray.

In the midst of the chaos ensuing in Raccoon City after a virus outbreak, a mother and daughter traverse through the infected-filled streets in pursuit of safety.

An unnamed warrior and his army arrive in Norway and begin to kill entire Viking settlements, seers warn of a prophecy that bring about the final day of Ragnorak upon the arrival of the dark man known as 'The King without a name'.

An unnamed warrior and his army arrive in Norway and begin to kill entire Viking settlements, seers warn of a prophecy that bring about the final day of Ragnorak upon the arrival of the dark man known as 'The King without a name'.

A nouveau riche family's Thanksgiving weekend is turned upside down by the Prince of Darkness in this outlandish fable for the politically incorrect.

Ho’s current film installation “The Name,” is a dynamic montage of found footage taken from films created in the Western tradition featuring the motif of the romantic cult of genius to depict the act of writing as a creative, torturous process. The film then uses a voice-over to come to terms with the kind of author who completely deviates from this ideal. In creating “The Name,” Ho puts to use his ruminations and years of research into the journalistic writings of the mysterious author Gene Z. Hanrahan. Ho’s interest in the writer was sparked by the book “The Communist Struggle in Malaya,” which was published in the USA in 1954. The book is an astonishingly informative treatise about the communist struggle on the Malay Peninsula during the colonial era; further publications from Hanrahan, however, concerning guerrilla tactics in China, or “The Wild Years,” about Ernest Hemingway’s work, raise doubts about Hanrahan’s identity as an authorial subject. By citing the example of a single concrete historical case that left its traces on Malaysian historiography, Ho’s use of cinematic and artistic devices help to demonstrate the instability of the notion of authorship and originality. 　　“The Name” forms the counterpart to Ho’s film “The Nameless,” which he originally produced for the Shanghai Biennale in 2014. Teeming with double-meanings and polysemy, this story about a triple agent in Southeast Asia could not be shown in Shanghai as a result of government censorship. It will instead be shown for the first time at the Akademie der Künste on Hanseatenweg as part of the exhibition “Forum Expanded”, known this year by the title “The Sound of the Closing Door,” to take place during the Berlin Film Festival (until Feb 15th).

Ho’s current film installation “The Name,” is a dynamic montage of found footage taken from films created in the Western tradition featuring the motif of the romantic cult of genius to depict the act of writing as a creative, torturous process. The film then uses a voice-over to come to terms with the kind of author who completely deviates from this ideal. In creating “The Name,” Ho puts to use his ruminations and years of research into the journalistic writings of the mysterious author Gene Z. Hanrahan. Ho’s interest in the writer was sparked by the book “The Communist Struggle in Malaya,” which was published in the USA in 1954. The book is an astonishingly informative treatise about the communist struggle on the Malay Peninsula during the colonial era; further publications from Hanrahan, however, concerning guerrilla tactics in China, or “The Wild Years,” about Ernest Hemingway’s work, raise doubts about Hanrahan’s identity as an authorial subject. By citing the example of a single concrete historical case that left its traces on Malaysian historiography, Ho’s use of cinematic and artistic devices help to demonstrate the instability of the notion of authorship and originality. 　　“The Name” forms the counterpart to Ho’s film “The Nameless,” which he originally produced for the Shanghai Biennale in 2014. Teeming with double-meanings and polysemy, this story about a triple agent in Southeast Asia could not be shown in Shanghai as a result of government censorship. It will instead be shown for the first time at the Akademie der Künste on Hanseatenweg as part of the exhibition “Forum Expanded”, known this year by the title “The Sound of the Closing Door,” to take place during the Berlin Film Festival (until Feb 15th).