Marijana's life revolves around her family, whether she likes it or not. They live on top of one another in a tiny apartment, driving one another crazy. Then her controlling father has a stroke and is left completely bedridden, and Marijana takes his place as head of the clan. Soon, she is working two jobs to keep everything afloat, while her mother and disabled brother do their best to scupper the ship. Driven to the edge, Marijana finds comfort in seedy sex with random strangers; and this taste of freedom leaves her wanting more. But now that she has finally found freedom, what's she meant to do with it?

Marijana's life revolves around her family, whether she likes it or not. They live on top of one another in a tiny apartment, driving one another crazy. Then her controlling father has a stroke and is left completely bedridden, and Marijana takes his place as head of the clan. Soon, she is working two jobs to keep everything afloat, while her mother and disabled brother do their best to scupper the ship. Driven to the edge, Marijana finds comfort in seedy sex with random strangers; and this taste of freedom leaves her wanting more. But now that she has finally found freedom, what's she meant to do with it?

在朋友的NestShare民宿经历了一场激情的一夜情后，莉娜（Lina）发现自己的风流韵事被藏在公寓里的摄像头拍了下来。随着威胁不断增加，她也越来越疑神疑鬼，于是开始着手揭开一个阴险偷窥狂的真面目。然而，她最终意识到，这个威胁比她想象的更近，也更加危险。《窥视你》（Watching You）改编自J.P. 波马尔（J.P. Pomare）的小说《最后的客人》（The Last Guests）。

在朋友的NestShare民宿经历了一场激情的一夜情后，莉娜（Lina）发现自己的风流韵事被藏在公寓里的摄像头拍了下来。随着威胁不断增加，她也越来越疑神疑鬼，于是开始着手揭开一个阴险偷窥狂的真面目。然而，她最终意识到，这个威胁比她想象的更近，也更加危险。《窥视你》（Watching You）改编自J.P. 波马尔（J.P. Pomare）的小说《最后的客人》（The Last Guests）。

秦家养女秦晚与陆氏总裁陆薄琛结婚三年，却被心机女林可研陷害导致夫妻不睦，跳河后的秦晚被宋氏总裁所救，并寻到亲生父母改名宋晚，宋晚决定不再隐忍，查找证据让林可妍得到应有的惩罚，最后和陆薄琛解开误会。

"宫氏集团千金宫冰蓝因意外失去记忆，惨遭第三者冤枉被赶出家门。 从小就爱慕宫冰蓝的傅氏集团总裁，得知宫冰蓝回归，展开了一系列的追求。渣男前夫不择手段试图击垮宫氏集团，宫傅两家携手并进，打败渣男。"

在繁华都市的背后，隐藏着一段跌宕起伏的传奇故事。千亿女收藏家姜黎，本应过着令人艳羡的富足生活，却为了查出父母被害的真相，毅然决然地隐瞒自己的真实身份，选择蜗居在平民窟中。在这个充满烟火气与喧嚣的地方，姜黎的生活悄然发生着变化。某一天，她无意间救下了一位正在被追杀的神秘男子。此人正是贺氏集团的太子爷，在商场上呼风唤雨，却在此刻陷入了生死危机。命运的丝线将两人紧紧缠绕在一起。为了在这复杂的世界中保护自己，也为了试探彼此的真心，他们互扮穷鬼。

To activate English subtitles for the film, click on the CC button in the playbar of the player *** 　　As it’s Halloween season, this week we’re presenting a clever video essay on the power of sound in movies to scare us and haunt our memory. The video draws its argument from a text by the legendary French critic Serge Daney on Georges Franju’s horror classic Eyes Without a Face — in which Daney talks about a peculiar noise that prevented him from rewatching the film for decades. 　　Serge Daney is one of the most important figures of French film criticism, though very little of his work has been translated into English, to the regret of many cinephiles. He worked as a critic for Cahiers du cinéma starting in 1964, and as its editor from 1973 to 1981, before leaving for the daily newspaper Libération. He died in 1992. Georges Franju’s Eyes Without a Face caused controversy and received mixed reviews upon its release in 1960, but is now considered a classic and masterpiece for its poetic nature, an influence on many filmmakers. 　　Through penetrating associations of text, clips, and sounds, all popping up on a simulated computer screen, French researcher and filmmaker Chloé Galibert-Laîné resurrects the dialogue between these two figures, conducting an investigation into the noise that terrified Daney, as well as others that have scared her. Galibert-Laîné clears the path of her research and succeeds at chilling the viewer in turn. 　　As the filmmaker states on her website, “The Eye Was In the Tomb and Stared at Daney explores questions such as: Does anticipating an emotion make it weaker or stronger? How do music and sound effects register in our memories, when our attention is mainly focused on images?” Galibert-Laîné directed The Eye Was In the Tomb and Stared at Daney in the context of a long-term research project entitled ‘A Portrait of the Spectator As a Cannibal’, that studies our memories of films, and how viewers appropriate and reinvent the films they have seen, incorporating them into their own personal experience. 　　Chloé Galibert-Laîné is a researcher and filmmaker based in Paris, whose work is focused on the relationship between cinema and online media and is presented in both academic and artistic contexts. She is currently preparing a PhD at the prestigious École normale supérieure de Paris and teaches film studies at Université Paris 8. Her work has been shown at the Ars Electronica Festival, the London Essay Film Festival, the Rotterdam International Film Festival, IMPAKT Festival, and the Austrian Film Museum. In 2018, she was Artist in Residence at m-cult (Helsinki) through the European Media Art Platform (EMAP) and an Art of Nonfiction Grantee from the Sundance Institute.