Set in Nigeria, Oloture is the story of a young, naive Nigerian journalist who goes undercover to expose the shady underworld of human trafficking. Unused to this brutal environment, crawling with ruthless traders and pimps, Oloture finds warmth and friendship with Blessing, Linda and Beauty, the prostitutes she lives with. However, she gets drawn into their lifestyle and finds it difficult to cope. In her quest to uncover the truth, she pays the ultimate price - one that takes her to the verge of no return.

Set in Nigeria, Oloture is the story of a young, naive Nigerian journalist who goes undercover to expose the shady underworld of human trafficking. Unused to this brutal environment, crawling with ruthless traders and pimps, Oloture finds warmth and friendship with Blessing, Linda and Beauty, the prostitutes she lives with. However, she gets drawn into their lifestyle and finds it difficult to cope. In her quest to uncover the truth, she pays the ultimate price - one that takes her to the verge of no return.

Eurotika is a Channel 4 documentary film on European exploitation cinema. During the 1960s and 1970s, European low-budget films went kinky, emerging as a new type of cinema that blended eroticism, surrealism, horror, and over-the-top atmospherics. This series covers European exploitation cinema and sexploitation before the introduction of home video. It has profiles of Jesús Franco, José Larraz, Alain Robbe-Grillet, Jean Rollin, Walerian Borowczyk and Jose Bénazéraf. 　　01- Virgins and Vampires: The Films of Jean Rollin 　　02-The Diabolical Mr. Franco: The Films of Jess Franco 　　03-Blood and Black Lace: A Short History of the Italian Horror Film 　　04-From Barcelona to Tunbridge Wells: The Films of Jose Larraz 　　05-French Blue: Erotic Films of France 　　06-A Life In Four Chapters: The Films of Jose Benazeraf 　　07-So Sweet, So Perverse: Women Of European Sexploitation 　　08-Strange Behavior: Cult Films Of Eurocine Studios 　　09-Is There a Doctor in the House?: Medicine Gone Bad 　　10-I am a Nymphomaniac: The Erotic Films of Max Pecas 　　11-Blood and Sand: All You Ever Wanted to Know About Spanish Horror Films 　　12-The Blood Beast: The Films of Michael Reeves

Eurotika is a Channel 4 documentary film on European exploitation cinema. During the 1960s and 1970s, European low-budget films went kinky, emerging as a new type of cinema that blended eroticism, surrealism, horror, and over-the-top atmospherics. This series covers European exploitation cinema and sexploitation before the introduction of home video. It has profiles of Jesús Franco, José Larraz, Alain Robbe-Grillet, Jean Rollin, Walerian Borowczyk and Jose Bénazéraf. 　　01- Virgins and Vampires: The Films of Jean Rollin 　　02-The Diabolical Mr. Franco: The Films of Jess Franco 　　03-Blood and Black Lace: A Short History of the Italian Horror Film 　　04-From Barcelona to Tunbridge Wells: The Films of Jose Larraz 　　05-French Blue: Erotic Films of France 　　06-A Life In Four Chapters: The Films of Jose Benazeraf 　　07-So Sweet, So Perverse: Women Of European Sexploitation 　　08-Strange Behavior: Cult Films Of Eurocine Studios 　　09-Is There a Doctor in the House?: Medicine Gone Bad 　　10-I am a Nymphomaniac: The Erotic Films of Max Pecas 　　11-Blood and Sand: All You Ever Wanted to Know About Spanish Horror Films 　　12-The Blood Beast: The Films of Michael Reeves

Lost in remotest part of Eastern Europe, on the edges of a mythical forest, Sam, is a foreigner, far from home, searching for his biological father Lagzdins. When a minor road accident leads to a chance meeting with a pig-farmer’s daughter – Kirke, Sam’s priorities must change if he wants to survive. Her kind hospitality is a smoke screen to capturing him and making him a slave on the farm. Alone, unable to speak the language and chained up 24/7 with the pigs, he learns to adapt and starts gaining the confidence that might lead to freedom and true love.

Lost in remotest part of Eastern Europe, on the edges of a mythical forest, Sam, is a foreigner, far from home, searching for his biological father Lagzdins. When a minor road accident leads to a chance meeting with a pig-farmer’s daughter – Kirke, Sam’s priorities must change if he wants to survive. Her kind hospitality is a smoke screen to capturing him and making him a slave on the farm. Alone, unable to speak the language and chained up 24/7 with the pigs, he learns to adapt and starts gaining the confidence that might lead to freedom and true love.

The warning labels found on some new microwave ovens may have comedic value (where but in America would users be warned not to put their pet in the device?) but we rarely notice the disclaimers preceding films. In fact, they are even more absurd: one very common one is “This is a work of fiction.” But producers, distributors and cinema owners protect themselves from accusations of offense caused by all sorts of other potential issues, like people of the same sex kissing, special effects, drug use, violence, unsafe behavior, and even cinematic experimentation. 　　The fear of having to pay the price for being misunderstood can be traced back to the very beginnings of film—as proven by these disclaimers from the 1874–2022 period. While the tone of this litany of warnings may be deeply ironic, the feeling gradually creeps up on you that this legal straitjacket could fatally constrict the unique ability of film to imagine the unknown, and to suspend disbelief. 　　源自：https://festival.idfa.nl/en/film/2da17be7-7721-4e2c-bbef-41db06887d96/the-film-you-are-about-to-see/

THE VIEWING BOOTH explores a space ostensibly off-limits to cinema — the internal experience of the viewer. In a lab-like space, Maia Levy, a young American woman, watches videos portraying life in the West Bank city of Hebron, while verbalizing her thoughts and feelings in real time. An enthusiastic supporter of Israel, the images in the videos, disseminated for the most part by the Human Rights organization B’Tselem, contradict some of Maia’s deep-seated beliefs. Empathy; anger; embarrassment; innate biases and healthy curiosity — all play out before our eyes as we watch her watch the images created by the Occupation. As Maia navigates and negotiates the images, which threaten her worldview, she also reflects on the way she sees them. Her candid and immediate reactions form a one-of-a-kind cinematic testimony to the psychology of the viewer in the digital era.

中国传媒大学2021届（2017级）动画联合创作

THE VIEWING BOOTH explores a space ostensibly off-limits to cinema — the internal experience of the viewer. In a lab-like space, Maia Levy, a young American woman, watches videos portraying life in the West Bank city of Hebron, while verbalizing her thoughts and feelings in real time. An enthusiastic supporter of Israel, the images in the videos, disseminated for the most part by the Human Rights organization B’Tselem, contradict some of Maia’s deep-seated beliefs. Empathy; anger; embarrassment; innate biases and healthy curiosity — all play out before our eyes as we watch her watch the images created by the Occupation. As Maia navigates and negotiates the images, which threaten her worldview, she also reflects on the way she sees them. Her candid and immediate reactions form a one-of-a-kind cinematic testimony to the psychology of the viewer in the digital era.