在 1920 年代的喧嚣中，波特揭开历史的篇章，揭示那些引发民权运动的男人和女人的心跳，并敢于问这个问题：我们为自由而战的代价是什么？ 使这些人成为铁路公司搬运工这一令人垂涎却又令人沮丧的工作的首选，这些特质与统治白人世界的“拥有者”会采取任何措施压制的特质相同。 THE PORTER 执着于被剥夺更好的生活，跟随四个雄心勃勃的灵魂的旅程，他们为了解放而奋斗、梦想、跨越国界、对抗障碍甚至违法。

A rocker makes a pact to kill himself on his 37th birthday. 12 weeks before the release of his final album and the end of his life, he meets and falls in love with a woman who has a dark secret of her own.

In an interview with Hans Scheugl about the ideas and techniques behind some of his films, the film-maker Kurt Kren told the following anecdote, which sheds an interesting light on his work. For his film Tree again (1978), Kren used a highly sensitive infra-red color film, a type which usually has to be developed within a very short period of time. However, Kren who has always worked on a very small budget, only had a roll of film which was already five years past its expiry date and, as Kren says, "there was little likelihood of anything turning out on the film." But he still decided to take shots of a large and splendid tree surrounded by bushes and a stretch of pastureland over a period of several weeks, from summer to autumn - a series of individual pictures taken from the same camera position. As he says, "I didn´t have much hope - (I knew) it was a crazy thing to do." But Kren´s illogical hope and his unshakeable confidence in his material were rewarded. Tree again became one of Kren´s most beautiful works - although it is difficult to single out any individual work from a corpus of extraordinary density and variety which spans over thirty years and includes over 40 films. The tree, the field, the sky, in fact the entire picture radiates an unusual, almost eerie artistry, with its rapidly changing blue, green and reddish hues, sometimes brightly illuminated for the fraction of a second like the flash of lightening in a technicolor horror film. Or a sky of deep blue with clouds scudding across it, an airplane drawing condensation trails which fade away imperceptibly, the abrupt juxtaposition of sun and shadow and the strong, gusty movement of the wind amongst branches and leaves, as though an endless and destructive storm were at work. An apocalyptic picture, yet one that is full of a wonderful, quiet beauty - the changing of the sun, and the play of light, how autumn arrives in a matter of seconds and the leaves begin to fall, the shadows of grazing animals which appear and disappear in the blink of an eye.

「使人残疾的是心，不是身体。」二十三岁的贵田梦马因脑性麻痺，长年以轮椅代步，母亲待她如易折的鲜花，偏执呵护，但隐藏在美少女漫画师身份背后的她，依旧梦想著独立自主。梦马将作品投稿至成人漫画编辑部，却被批评「经验不足」，她也因此开始探索自己的慾望。当她与专门为身障者提供性服务的舞姐相遇，性启蒙的欢愉仿如盛开的花蕊，艳丽而张扬，而关于她生命起点的秘密，也正隐隐显现端倪……。 　　以爱欲启蒙为主轴，导演HIKARI在海选中深受零表演经验的佳山明吸引，并以她身为大脑性瘫痪残障人士的亲身经验重新编写，虚实交织成这部缤纷曼妙的真挚之作。资深演员神野三铃、渡边真起子分别饰演保守派母亲与解放派性工作者，情感张力十足，涩川清彦、石桥静河惊喜现身更添亮点。 　　「人应该有无限可能，唯一的限制，只会是我们自身。」──HIKARI

刺眼的阳光，斑驳的丛影，本该宁静单纯的高中校园发生了一起自杀事件。破碎的时光扭转，开始讲述六名高中学生的故事。史蒂文（查尔斯·贝尔德 Charles Baird饰）是个自卑的男孩，他的世界里除了足球一无所有。而校足球队主力卢克（山姆·哈里斯 Sam Harris饰）跟他的女友莎拉（玛尼·斯皮兰 Marni Spillane饰）是校园里公认的一对儿，善良的麦乐蒂（泰莉莎·帕尔墨 Teresa Palmer饰）一直暗恋着卢克，可自当她遭到同胞弟弟马库斯（弗兰克·斯威特 Frank Sweet饰）的性侵犯后，一切都坍塌了。然而卢克却与肖恩（乔尔·麦肯齐 Joel Mackenzie饰）保持着隐秘的同性恋关系。面对性、家庭和爱情，这六名少男少女的脆弱和无助，该何处安放？ 　　本片入围2006年第19届东京国际电影节主竞赛单元-东京电影节大奖。

刺眼的阳光，斑驳的丛影，本该宁静单纯的高中校园发生了一起自杀事件。破碎的时光扭转，开始讲述六名高中学生的故事。史蒂文（查尔斯·贝尔德 Charles Baird饰）是个自卑的男孩，他的世界里除了足球一无所有。而校足球队主力卢克（山姆·哈里斯 Sam Harris饰）跟他的女友莎拉（玛尼·斯皮兰 Marni Spillane饰）是校园里公认的一对儿，善良的麦乐蒂（泰莉莎·帕尔墨 Teresa Palmer饰）一直暗恋着卢克，可自当她遭到同胞弟弟马库斯（弗兰克·斯威特 Frank Sweet饰）的性侵犯后，一切都坍塌了。然而卢克却与肖恩（乔尔·麦肯齐 Joel Mackenzie饰）保持着隐秘的同性恋关系。面对性、家庭和爱情，这六名少男少女的脆弱和无助，该何处安放？ 　　本片入围2006年第19届东京国际电影节主竞赛单元-东京电影节大奖。