「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

「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

一位绝望的作家报名参加一个完全由人工智能控制的静修所，以治愈她的写作障碍，但是当一个无法预见的软件故障发生时，她被困在自己的单位里，与一个不稳定的机器人在一起，无法与外界联系。绝望作家为治写作障碍进 AI 静修所，因软件故障，被困与不稳定机器人独处。

生活在一个离异家庭的14岁女中学生花音，在超市偷窃指甲油时被店长青柳直人（松坂桃李 饰）发现。事情败露后花音夺路而逃，而直人在后面紧追不舍。结果意外发生，花音横穿马路时先是被私家车撞倒，随后又被大货车碾压身亡。见到女儿惨状的渔夫添田充（古田新太 饰）痛不欲生，他笃定认为女儿是清白的，事实上一定是直人对女儿图谋不轨。这一事件迅速在社会上引起轰动，无聊媒体紧紧抓住热点，煽动双方情绪。事件中心的两个人被舆论所裹挟，阿充固执地相信他所要相信的，直人和女司机则陷入深深的自责和自我否定之中。 　　所有身处事件中心的人们都渐渐走向崩溃的边缘……

生活在一个离异家庭的14岁女中学生花音，在超市偷窃指甲油时被店长青柳直人（松坂桃李 饰）发现。事情败露后花音夺路而逃，而直人在后面紧追不舍。结果意外发生，花音横穿马路时先是被私家车撞倒，随后又被大货车碾压身亡。见到女儿惨状的渔夫添田充（古田新太 饰）痛不欲生，他笃定认为女儿是清白的，事实上一定是直人对女儿图谋不轨。这一事件迅速在社会上引起轰动，无聊媒体紧紧抓住热点，煽动双方情绪。事件中心的两个人被舆论所裹挟，阿充固执地相信他所要相信的，直人和女司机则陷入深深的自责和自我否定之中。 　　所有身处事件中心的人们都渐渐走向崩溃的边缘……

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.

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.

New York in the late 70s: the arch, anti-establishment energy of CBGBs punk spreads like a virus through the East Village art scene, with hipsters as likely to pick up a cheap Super-8 camera as a guitar or saxophone. A number of eager collaborations between filmmakers, musicians and performance artists are spawned, and a scene tagged No Wave evolves, with the likes of Jim Jarmusch, Lizzie Borden and Susan Seidelman emerging from it. On into the 80s, and contempt for Reaganite conservatism inspires Nick Zedd's Cinema of Transgression Manifesto, proposing, among other things, 'to go beyond all limits set or prescribed by taste, morality or any other traditional value system shackling the minds of men'. The likes of Richard Kern, Lydia Lunch and Casandra Stark enthusiastically sign up. Celine Danhier's authoritative, thorough account of post-punk underground filmmaking in NYC celebrates a time and place where there were no rules, and where artists were encouraged and supported by their peers, those peers being, essentially, their audience. Contributions from key players are numerous and fascinating, as are the clips from the seminal, hugely influential work they produced. 　　Michael Hayden

本片纪录了被大众遗忘的作曲家汪立三的人物故事，汪立三在老年因阿尔兹海默症而失忆。除了音乐，诸事成谜。从美归来的音乐博士张奕明沿着他的足迹北上，开启了回溯时空的旅程……