Set in Los Angeles, after developing an addiction to a strange new street drug called Rations, a private investigator who struggles to hold on to his sanity gets entangled in a dangerous, otherworldly, criminal enterprise when accepting a job tailing a crime boss' wife. a dark-suspenseful-hallucinatory-psychological thriller web series of sorts..

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遗嘱是人生的一种言语象征式资产负债表，在其中我们梳理自己的物质与非物质财产，并将我们的信息传递给下一代。富有诗意的遗言构成了这部电影的框架，影片由四个片段组成，从不同角度反思了面对不可避免的终结时的人生——比如一对年轻人漫步在巴黎的……

電気や水道のない山で狩猟生活を送る東出を1年間記録した本作。作中では、自分で獲った鹿やイノシシを食べ、地元の人々と触れ合いながらも、混沌とした気持ちや葛藤を抱える彼の姿が映し出されていく。

这部作品记录了东出在没有电和自来水的山里过了一年狩猎生活的经历。作品中展现出，他吃着自己捕获的鹿和野猪，一边与当地居民交往，一边内心却有着混乱的情绪和矛盾挣扎的模样。

本作记录了在没有电和水的山中过着狩猎生活的东出昌大长达一年的时间。在片中，他展示了自己捕获的鹿和野猪作为食物，同时与当地居民互动，但影片也揭示了他内心的混乱情绪和挣扎。

Former college basketball star Will (Obaka Adedunyo) is struggling to kick his heroin addiction and find a stable job, while Jean (Loretta Devine, Waiting to Exhale), his tough but supportive wife, works hard to keep their household afloat. A renewed sense of purpose arrives in the form of a drug-using, destitute 12-year-old, whom Will takes in and affectionately nicknames Little Brother. Will adopts a mentor role towards the boy in order to incentivise himself to do better, but returning to the straight and narrow path proves fraught with temptation. Unapologetically frank and deeply emotional, Will features fierce performances from Adedunyo and prolific actor Devine in her first film role. Trailblazing director Jessie Maple made the film on a shoestring budget of $12,000, shooting on 16mm alongside her husband, cinematographer LeRoy Patton. Maple’s determined DIY ethos even extended to exhibition: for the film’s premiere, she and Patton converted the basement of their Harlem brownstone into a cinema dubbed 20 West, which became a long-running venue used to elevate other Black filmmakers. Recently restored from near obscurity and championed by directors such as Julie Dash, this pioneering film can at last be granted its due. “Will’s crisis has a spiritual dimension, and Maple evokes it, dramatically and symbolically … a blunt cinematic instrument of immense power.” – The New Yorker

Death as non-existence, non-being, or the absence of life has been a subject of human interest for millennia. Poets, philosophers, prophets, and hermits have now been replaced by filmmakers, influencers, cryonicists, and evolutionary biologists in the search for the quintessence of life and death. Zoltan Istvan runs a cryonics laboratory and is running for president of the United States with the demand that immortality be included among fundamental human rights. In Russia, a mass festival dedicated to the cult of death is traditionally held. Dāvis Sīmanis' film essay reveals the twists and turns of man's age-old desire for eternal life. It uncovers the metaphorical and fetishistic representations of death and the mechanisms by which we come to terms with our own mortality.