Synopsis
Living away from their loved ones, both the Filipina caretakers and the elderly residents of the nursing home suffer from homesickness. In the flow of life, stories of joy and sorrow take place between them. LEE began shooting in 1998 and spent 13 years documenting their dreams, loves and financial struggles. Her film combines poetry, animation and folk music with documentary footage, focusing intently on the human desires of these women. In their desires, we get a taste of the flavors of Money and Honey.

Program Note
Director LEE Ching-hui became interested in migrant women from the Philippines due to the Filipino woman who took care of her grandmother, and recorded the lives of the migrant women over a period of thirteen years. Baby and Lolita from the Philippines work as caregivers in Taiwan to support their families. Baby returns to the Philippines after her threeyear contract is over, but she decides that it would be better to return to Taiwan. Over time, her children have formed a closer relationship with her husband, and her husband is also more used to housekeeping. Although her family and the village people respect and look up to her, it is only because of the fancy household goods that she bought with the money she earned. Now, she is the breadwinner of the family. She has the most authority in the house, and no one wants Baby to stop working and return to her place as a homemaker. Baby returns to Taiwan and looks for work. Even though this film appears like a humanistic documentary where the audience can comfortably follow the lives of the characters on screen, it is a multi-layered, intellectual documentary that captures the gender characteristics of the caregivers, the feminization of migration, and the temporary paradox of the gender subversion that is observed in the global women-labor circulation. [Hwang Miyojo]