In an era of national stability but intellectual repression, a group of dreamers faced challenges and setbacks, all the while hoping for a glimmer of light after a long period of darkness. One day in 1980, Wu Nien-jen, who was working at a municipal sanatorium, received a call from the “Central Motion Picture Corporation” (CMPC). Shortly thereafter, the 28-year-old Wu joined CMPC. Similarly, in 1979, Hsiao Yeh, who had returned to Taiwan after a year of interrupted studies, sought out CMPC to settle unpaid fees. Soon, the 29-year-old Hsiao Yeh also joined CMPC, becoming Wu’s colleague. How could these two young men, both idealists with a passion for Taiwan and cinema, bring about change within this conservative and rigid system?