In Taiwan, there is one child missing in every hour and only 60-70% of them can be found. The news of child abuse emerges in an endless stream, but the literature and cinema in Taiwan rarely reflect this subject. Follow his documentary Doctor and feature debut Parking, director CHUNG Mong-hong determined to focus on children, it turns out to be The Fourth Portraits.

The Fourth Portraits, the opening film of Taipei Film Festival this year, portrays a 10-year-old boy relieved by school janitor after his father’s death then lives with his estranged mother and stepfather. The boy’s brother has been missing for years but always comes into his dream. Be treated like a hot potato, he couldn’t trust any adult around him. How will he portray his own life?

“After filming Doctor, I’m always curious about the inside world of children.” CHUNG said, “The child’s mind is vast as the universe and you probably can’t find the way out when you explores it, definitely not only the innocence can be found there. Through the pictures drew by the boy, this film tries to display the various facets of a child’s mind.”

Although the subject of domestic violence, child abuse and missing child possesses of conflict and tension, CHUNG accentuates the relationship between the boy and other characters in a tone of cool and low-key, without screaming and accusation, only the oppression and potential violence. “This film touches the problem of missing children, but where are they? Why are they missing?” emphasized CHUNG, “The concept of ‘missing’ can be extended to such as how does the boy understand his father’s death, brother’s disappearance and mother’s remarriage, and adults’ blind to children.”

Director CHUNG chose Xiao-Hai BI to make his acting debut as the 10-year-old boy in this film. “The Italian cinema master Vittorio De SICA said, ‘you aren’t a director if you haven’t made the film about children or dog.’ It’s clear that how difficult to shoot the film about children.” said CHUNG with laugh, “As an amateur, there will be unexpected situation at each act. We had to catch the image impromptu just like to shoot another documentary. However, no matter confronted by veteran Shih-Chieh KING, Leon DAI or Lei HAO, BI responded naturally and vividly, and the tears in many scenes are all real.”