It is said that there are so many incredible examples of Chinese art in the Taipei Palace Museum that there has never been enough time to show them all. Instead art experts such as Yuan Jai, who has been working there for most of her professional life, are the only ones who get to see it all. Perhaps that explains the freshness of her paintings, which use Chinese ink on silk to create some striking landscapes. The colours are bold enough to shock traditionalists and her technique is obvious enough to impress them. Her fans credit this mixture with her familiarity with the vitality of early Chinese painting, from the Tang, Sung and the Five Dynasties period, as well as Western 20th century movements, such as Cubism. We are lucky to see her work at all: her exhibition, which opens at Hanart T Z Gallery today and runs until the end of the month, has been postponed from July. The paintings apparently ran into 'shipping problems'. Nothing we hope, to do with all that chaos at the airport. Snapshots of Brecht's life Bertolt Brecht produced plays, or at least polemics, on practically every great artistic question of the day, but he never said a word about photography. Yet he was known for photographing the progress of all his plays and for insisting that his assistant, Ruth Berlau, photographed the manuscripts of his work. He was famously difficult about having his photograph taken and in the early days he made an enormous fuss, demanding the right to choose which appeared in print. So Brechtologists were delighted when in 1986 a set of hitherto unknown portraits by a Bavarian court photographer called Konrad Reler, who had been a friend of the Brecht family, was discovered. Reler had taken family portraits of the Brechts before young Bertolt was born. He took a rather touching picture of the young Brecht in 1927, smiling shyly into the camera, a skinny, crop-haired boy in an oversized leather coat. The photographs were promptly given pride of place in the Munich Stadtmuseum and are on display at the Goethe-Institut until September 26, as part of the centenary celebrations marking Brecht's birth. There is also a fascinating documentary, 'My Name is Bertolt Brecht - Exile in the USA', which shows some of Brecht's most unhappy years when he was exiled in America during and just after World War II. A huge talent in Europe, Brecht was almost unknown in the US and it was an enormous blow to his ego that he had to fight to be taken seriously as a writer and to get his work published there. The film is on tonight in the Goethe-Institut at 7pm, admission free. Classic fashion flicks Broadway Cinematheque, the excellent arthouse cinema in Yau Ma Tei, has surpassed its normal high standards of programming this month with a wonderful season of feature films and documentaries under the title, 'Fashion and Film'. The idea is to show how fashion in film has both reflected and inspired street fashion since the 1920s, and also how individual fashion designers have made a distinctive input to particular films. And there is also a series of profiles of some of the most influential designers of the century, including Coco Chanel, Vivienne Westwood and John Galliano. The feature programme starts at 5.30pm in the 1940s with Gilda, starring Rita Hayworth. The legendary Jean Louis designed for her in this movie, creating a black strapless number with thigh-high slits that confirmed forever Hayworth's image as the vamp par excellence. It is followed by Annie Hall at 7.40pm, in which Ralph Lauren created that remarkable Annie look for Diane Keaton - all ties and baggy trousers - that became her signature look. Next week there are screenings of The Cook, the Thief, The Wife & Her Lover (Helen Mirren in Jean Paul Gaultier), American Gigolo (Richard Gere in Armani) and Funny Face (Audrey Hepburn in Givenchy). The line-up is a credit to the programmers: films that demonstrate the theme of the season and are also classics. The only exception might be Luc Besson's The Fifth Element (September 23), which was a witty action flick and showed Gaultier's genius to full effect, but is never going to make it on to anyone's Top 100 Movies Of All Time list.