The limits of the landscape are always the same, because they do not understand political borders, but geographical features. A line that separates the sea from the sky, mountainous waves that cut across the sky. Regardless of where you are, these limits follow the same pattern. This film proposes as a starting point the use of these limits to create a sort of landscape collage, to reconstruct the image of the landscape by combining space and time from the capture of the image; from the present, and not from the subsequent construction in post-production, hence the key role of the analogue image. (Laura Moreno Bueno)

During the Kadamba reign, King Vijayendra, the ruler of the fictional feudatory land of Bangra, meets his final fate while venturing into the mystical forest of Kantara. Witnessing this, his son Rajashekara seals the borders of their realm. Later, Prince Kulashekara reopens them through a brutal massacre. The protagonist, Berme, in search of prosperity, crosses the divide and ignites a conflict of faith, power, and destiny between the Kingdom and Nature.

Inspector Carlo Guerrieri, a veteran police officer from Rome, finds himself partnered with a rookie who was born in Ivory Coast but raised in the capital.

The limits of the landscape are always the same, because they do not understand political borders, but geographical features. A line that separates the sea from the sky, mountainous waves that cut across the sky. Regardless of where you are, these limits follow the same pattern. This film proposes as a starting point the use of these limits to create a sort of landscape collage, to reconstruct the image of the landscape by combining space and time from the capture of the image; from the present, and not from the subsequent construction in post-production, hence the key role of the analogue image. (Laura Moreno Bueno)

Inspector Carlo Guerrieri, a veteran police officer from Rome, finds himself partnered with a rookie who was born in Ivory Coast but raised in the capital.

The limits of the landscape are always the same, because they do not understand political borders, but geographical features. A line that separates the sea from the sky, mountainous waves that cut across the sky. Regardless of where you are, these limits follow the same pattern. This film proposes as a starting point the use of these limits to create a sort of landscape collage, to reconstruct the image of the landscape by combining space and time from the capture of the image; from the present, and not from the subsequent construction in post-production, hence the key role of the analogue image. (Laura Moreno Bueno)

西历5012年。突然入侵地球的＜外星人＞与其制造的＜机械生物＞导致人类面临灭亡危机。 　　仅存的人类逃至月球，为了夺回地球，利用＜人造人＞士兵展开反攻作战。 　　然而无限增加的＜机械生物＞阻挡在前，战争陷入胶著状态。 　　作为最终兵器，人类派遣新型人造人＜寄叶＞部队至地球。刚被派往地球的＜2B＞与先行调查员＜9S＞会合，一同执行任务，却在途中遇见许多神秘难解的现象……。 　　这是关于为人类而战，无生命＜人造人＞的故事－－ 　　PS：Automata指的是“自动人形”，别再机械纪元求求了。

小学生静香、大雄、小夫和胖虎是四个最亲密的伙伴，说是亲密伙伴，是因为他们四个经常在一起玩，但小夫和胖虎经常欺负大雄。而大雄天生就是被人欺负的对象，他胆小内向，经常被小夫和胖虎欺负得大哭着跑回家。不过，大雄家里住着来自未来的机器猫——哆啦A梦，哆啦A梦经常会看到大雄被欺负忍不住拿出一些未来世界的“法宝”帮助他，不过大雄大多数都会滥用这些“法宝”去作弄人，最后经常导致局面不可收拾，笑料百出……

永远的蓝胖子哆啦A梦是孩子们童年梦想的守护者，新哆啦A梦不仅将经典的哆啦A梦动画进行了全新的制作，更加入了经典老片没有收录的故事和篇章，是《哆啦A梦》系列动画的新生和延续。

玲(李心洁)是潮流版记者，每日在报章上撰写花钱指南，祟尚享乐主义，自己更是满身咭数的花钱一族。跟男友Peter分手后的第一天，玲突然收到他撞车身亡的恶耗，令她伤心不已。一直暗恋着玲的摄影记者基仔(陈冠希)在旁安慰之余，也希望她能考虑自己，最终却碰钉而回。 　　以收数为生，也常被追数的飞(黄秋生)与马仔(葛民辉)突来向玲收数。在Peter发生意外的肇事现场，飞一口咬定Peter的死并非意外，警方虽然只将案件列作一般交通意外处理，但飞却深信背后藏着一个阴谋。 　　玲对飞半信半疑之际，总编辑曾达时(梁家辉)的行径突然变得怪异，又对玲特别关注，令她不禁相信飞的说话。玲唯有请求飞及马仔相助，基仔为了亲近玲当然也自动请缨，于是四人一起追寻真相。 　　玲与基仔用他们做潮流版的手法查案，当然处处碰壁，还惹来杀身之祸，幸得飞及时相救才逃过大难。原来飞之所以拥有敏锐的侦探头脑，皆因他曾是一名警员，但因欠债而被革职，自此他便过着行尸酒肉的生活，今次可算是飞表演的大好机会。 　　飞与马仔几经调查后，发现案件跟三星期前一名女模特儿的死有关。警方当时将案件低调处理，相信跟富家子张承志有着莫大关系。飞更发现处理此案的竟是自己的旧同僚阿唐(林家楝)，令事情变得更复杂。 　　玲终于找到证据，遂赶回报馆揭发这宗必定轰动社会的头条新闻，却赫然发现张的爸爸已成功收购报馆，成为了他们的老板。究竟总编辑曾达时会否维护新闻自由，刊登这A1头条？案件又是否真的如众人所料那么简单？