KnitWits Revisited brings us back to the KnitWits' knitting store.

Apulia, 1959: Women in white dresses dance ecstatically in a small chapel. They jump around, roll on the ground, some even climb the altar. They are said to have been bitten by a spider. Their dancing mania requires a ritual exorcism with music. Pictures like these inspired Italian anthropologists to travel to southern Italy. Equipped with tape recorders, film and photo cameras, they tracked down the phenomenon of tarantism. 　　This essayistic documentary follows the wealth of multi-media archive material produced on this research trip. It brings out the voices of the affected women, who turn out to be experts of their own performances. A special relationship developed between the scientist Annabella Rossi and the “tarantata” Michela Margiotta, with their correspondence at the centre of the film. Even today, these images of female frenzy are disturbing, revealing the loss of control of husbands, families, science and the church. In today’s Apulia, the film discovers living forms of tarantism, tamed as folklore, a tourist attraction. There are new poisons that have infested the system. They, too, must be danced out.

Mount Analogue Revisited is based on a reworking of Rene Daumal’s book ‘Mount Analogue’. The book, unfinished before Daumal's death, is the story of a voyage to an unknown island with an improbable mountain which is seen as a means to link Heaven and Earth. Irish artists Walker and Walker adapt a short passage from the book which sees three of the crew from the voyage captured upon landing on the shore, and escorted to a municipal building. As an official demands an explanation for their actions, Walker and Walker fabricate a conversation between the three crew, the official, and the author himself. The dialogue uses the island's metaphysical nature to question the limits of reason and rationality, the quest for utopia, and whether truth can even exist. It is an adventurous philosophical tale—poetic passages leading to a spiritual quest, one which borders on science fiction.

葡萄牙名導Tiago Guedes第五部劇情長片以一幕美麗懾人的場景作為開場，靜謐的鄉村小鎮卻發生一連串慘案，永遠改變了Joao Fernandez的一生。20年後，葡萄牙受右翼的第二共和國政權統治，這時的Joao已是名富有的地主，並成為家族裡最具主見的領導人。由Joao帶領的家族勢力在接下來的40餘年，都將在葡萄牙歷史中佔有重要地位，不僅與動盪不定的政治、社會變遷相抗衡，家族埋藏已久的秘密與謊言也將水落石出。導演Guedes以19世紀葡萄牙文學家Jose Maria Eca de Queiroz的現實主義故事為主軸，創造出獨一無二的藝術視角，聚焦傳統大家族的內部關係如何受外在世界所影響，結果如同另一名19世紀文學家所言：「一切堅固的事物都終將煙消雲散」。

葡萄牙名導Tiago Guedes第五部劇情長片以一幕美麗懾人的場景作為開場，靜謐的鄉村小鎮卻發生一連串慘案，永遠改變了Joao Fernandez的一生。20年後，葡萄牙受右翼的第二共和國政權統治，這時的Joao已是名富有的地主，並成為家族裡最具主見的領導人。由Joao帶領的家族勢力在接下來的40餘年，都將在葡萄牙歷史中佔有重要地位，不僅與動盪不定的政治、社會變遷相抗衡，家族埋藏已久的秘密與謊言也將水落石出。導演Guedes以19世紀葡萄牙文學家Jose Maria Eca de Queiroz的現實主義故事為主軸，創造出獨一無二的藝術視角，聚焦傳統大家族的內部關係如何受外在世界所影響，結果如同另一名19世紀文學家所言：「一切堅固的事物都終將煙消雲散」。

夏中林和顾立伟同时爱上了美丽的女孩安慧，最终，安慧选择了夏中林。一晃眼二十年过去，夏中林成为了集团董事长，而顾立伟只是他手下不起眼的一个小小部下。曾经，为了和安慧在一起，夏中林抛弃了恋人郝丽华，可彼时她的腹中已经怀上了夏中林的孩子。 为了给孩子找一个父亲，郝丽华嫁给了一直在追求她的白子强，生下了女儿郝佳，然而郝丽华自始至终对白子强都没有半点感情，她揭发了丈夫在经商中使用违法手段，令白子强被捕入狱。安慧和夏中林的感情并非一帆风顺，在失落和孤独之中，安慧和顾立伟之间开始产生了不伦的感情。

夏中林和顾立伟同时爱上了美丽的女孩安慧，最终，安慧选择了夏中林。一晃眼二十年过去，夏中林成为了集团董事长，而顾立伟只是他手下不起眼的一个小小部下。曾经，为了和安慧在一起，夏中林抛弃了恋人郝丽华，可彼时她的腹中已经怀上了夏中林的孩子。 为了给孩子找一个父亲，郝丽华嫁给了一直在追求她的白子强，生下了女儿郝佳，然而郝丽华自始至终对白子强都没有半点感情，她揭发了丈夫在经商中使用违法手段，令白子强被捕入狱。安慧和夏中林的感情并非一帆风顺，在失落和孤独之中，安慧和顾立伟之间开始产生了不伦的感情。

长久以来，罗莎（张昭妍 饰）和库敏（安泰健 饰）都享受着平静而幸福的婚姻生活，可是，就在最近，罗莎发现丈夫的行踪有些诡异。心生疑虑的罗莎开始怀疑丈夫在外面有了情人，被妒忌折磨的痛苦不堪的罗莎决定靠自己的力量找出这个隐匿在丈夫背后的第三者。通过跟踪，罗莎终于目睹了这位第三者的真容，然而，神秘面纱的揭开却让罗莎开始后悔起自己鲁莽的举动来。丈夫的情人并非什么美艳少妇，却是一个姿态妖娆的男妓，一时间，罗莎不知如何是好。 　　渐渐的，罗莎发现男妓的身影占据了自己的全部大脑，自己居然在莫名之间深深的被他吸引。千回百转之后，两人终于越过了那道禁忌的界线，至此，剧情急转直下，两男一女该如何处置他们泛滥的欲望和情感呢？

Shavian social satire. Odette is an actress who's now the mistress of a government minister. Her household of cook, maid, and chauffeur needs a valet. On the eve of going with the minister to Deauville, she engages Désiré, a robust and talkative man, even through his most recent employer, a countess, intimates improprieties. Things go well for a short time: the wealthy talk about the servants, the servants talk about their employers. Then, Désiré has explicit dreams about Odette; his outbursts wake the maid in the next room nightly. Odette has the same dream each night, awaking the minister and his jealousy. Is there any decorous way to handle these subconscious attractions?

Shavian social satire. Odette is an actress who's now the mistress of a government minister. Her household of cook, maid, and chauffeur needs a valet. On the eve of going with the minister to Deauville, she engages Désiré, a robust and talkative man, even through his most recent employer, a countess, intimates improprieties. Things go well for a short time: the wealthy talk about the servants, the servants talk about their employers. Then, Désiré has explicit dreams about Odette; his outbursts wake the maid in the next room nightly. Odette has the same dream each night, awaking the minister and his jealousy. Is there any decorous way to handle these subconscious attractions?