The film proposal Alley Forever Young was selected as the 2017-2018 "Taipei Landscape Public Public Art (West District) Installation Plan Project B," following a pitch competition, with west Taipei to serve as the setting of the film. Besides portraying the major influence the development of west Taipei has had over Taiwanese history, our film compares and contrasts the striking differences between two generations, one in the 1930s and the other in the 2010s, in terms of occupations, lifestyles, ideologies, and political environments. Six young women and men play different characters living in the Japanese colonial era and 80 years later in current times. In addition to the dramatization by the actors and actresses, their dialogues will also point out the relationship between daily life and the political events of the past. Thus, the presentation of Taipei's history isn't limited to an off-screen narrator. The narrative will flow freely between the past and the present, narrowing the gap between the two eras and providing easy access to audiences of the internet age. Today, west Taipei City is composed of the original city center inside the city walls built during the Qing dynasty, as well as two settlements outside the walls: Tu a-ti u-tiann to the north, and Bun-kah to the south. Alley forever Young focuses on two watershed events in history. First after Japan took possession of Taipei, they tore down the city walls, so that the three distinct areas were no longer separated. On the walls became a three-lane road. All of a sudden, the notion of the city changed completely. Later, in the 1960, the Nationalist government rebuilt the South Gate, Auxiliary South Gate, and East Gate in a Northern Chinese architectural style. What the Japanese colonial government and the Nationalist government did to the walls and their gates reflected their respective governing and cultural values, and branded them clearly in front of our eyes. Our film utilizes Japanese era celluloid footage shot by Deng Nan-guang: images of women captured at close range and rare scenes of everyday life in Japanese colonial times. It provides us with a history we can project ourselves onto, and shortens the distance between the past and the present. The film will also feature a large amount of invaluable black-and-white photos by Li Huo-zeng. By looking closely at these old photos taken 80 years ago, we will also take a close look at ourselves. The past and the present switch places with each other, like the images in front of and behind a mirror. The film also reveals the nature and landscape of Taiwan, and the Taiwanese folk culture preserved in the Japanese propaganda film Southwara Expansion to Taiwan. The images and sounds of the streets, lanes and houses of Tua-tiu-tiann in particular bring the ordinary people of olden times back to life in our film. No matter how we portray history, without a new discoures, our film would still amount to nothing more than a rearrangement of stories. Therefore, female elements are planted deep into the plot of Alley Forever Young. There are more women in our cast than men, and we feature waitresses in a colonial-era Taipei coffee house, poems and song lyrics about women, portrayals of female roles in traditional families, the status of women in colonial society, the beginnings of feminism, and the status of women in present day Taipei. These all reveal the changes that Taipei women have gone through over time. And last but not least, our film ends with a look at Taipei women's history from our own perspective.