In a cinema, the day of the premiere of J'irai cracher sur vos tombes (adapted from his novel), Boris Vian has a heart attack. During his discomfort, he relives the major stages of his life: the meeting with Raymond Queneau, the nights of Saint-Germain-des-Prés, the scandal of J'irai cracher sur vos tombes, his love stories with Michelle Léglise then Ursula Kubler or his relationship with Jean-Paul Sartre. Through his memories, Boris Vian relives all his “parallel lives”.

A woman and her questionable veterinarian search across dimensions to kill God in order to save Blanche the dog.

A screwball comedy about two lesbians and the unlikely character that threatens to come between them.

A retrospective documentary about the groundbreaking horror series, Friday the 13th, featuring interviews with cast and crew from the twelve films spanning 3 decades.

Following her father's murder, a revenge-driven woman puts her trust in a powerful crime boss — and enters the police force under his direction.

Ho’s current film installation “The Name,” is a dynamic montage of found footage taken from films created in the Western tradition featuring the motif of the romantic cult of genius to depict the act of writing as a creative, torturous process. The film then uses a voice-over to come to terms with the kind of author who completely deviates from this ideal. In creating “The Name,” Ho puts to use his ruminations and years of research into the journalistic writings of the mysterious author Gene Z. Hanrahan. Ho’s interest in the writer was sparked by the book “The Communist Struggle in Malaya,” which was published in the USA in 1954. The book is an astonishingly informative treatise about the communist struggle on the Malay Peninsula during the colonial era; further publications from Hanrahan, however, concerning guerrilla tactics in China, or “The Wild Years,” about Ernest Hemingway’s work, raise doubts about Hanrahan’s identity as an authorial subject. By citing the example of a single concrete historical case that left its traces on Malaysian historiography, Ho’s use of cinematic and artistic devices help to demonstrate the instability of the notion of authorship and originality. 　　“The Name” forms the counterpart to Ho’s film “The Nameless,” which he originally produced for the Shanghai Biennale in 2014. Teeming with double-meanings and polysemy, this story about a triple agent in Southeast Asia could not be shown in Shanghai as a result of government censorship. It will instead be shown for the first time at the Akademie der Künste on Hanseatenweg as part of the exhibition “Forum Expanded”, known this year by the title “The Sound of the Closing Door,” to take place during the Berlin Film Festival (until Feb 15th).

Ho’s current film installation “The Name,” is a dynamic montage of found footage taken from films created in the Western tradition featuring the motif of the romantic cult of genius to depict the act of writing as a creative, torturous process. The film then uses a voice-over to come to terms with the kind of author who completely deviates from this ideal. In creating “The Name,” Ho puts to use his ruminations and years of research into the journalistic writings of the mysterious author Gene Z. Hanrahan. Ho’s interest in the writer was sparked by the book “The Communist Struggle in Malaya,” which was published in the USA in 1954. The book is an astonishingly informative treatise about the communist struggle on the Malay Peninsula during the colonial era; further publications from Hanrahan, however, concerning guerrilla tactics in China, or “The Wild Years,” about Ernest Hemingway’s work, raise doubts about Hanrahan’s identity as an authorial subject. By citing the example of a single concrete historical case that left its traces on Malaysian historiography, Ho’s use of cinematic and artistic devices help to demonstrate the instability of the notion of authorship and originality. 　　“The Name” forms the counterpart to Ho’s film “The Nameless,” which he originally produced for the Shanghai Biennale in 2014. Teeming with double-meanings and polysemy, this story about a triple agent in Southeast Asia could not be shown in Shanghai as a result of government censorship. It will instead be shown for the first time at the Akademie der Künste on Hanseatenweg as part of the exhibition “Forum Expanded”, known this year by the title “The Sound of the Closing Door,” to take place during the Berlin Film Festival (until Feb 15th).

大勢の人々が行き交う都会では、どこにいても人は他人の気配を感じながら生きている。不安、焦燥、寂しさ、慕情。街の中で一人、どこか遠くで消えてなくなりたい、と思った時にはもう、住処へ帰る道順を考えている。口笛を吹いていたのは、誰？

A legendary assassin takes on an elimination task targeting the famous pop singer. She succeeds in kidnapping the singer but is hesitant to kill him, while he is hesitant to run away.

High schoolers Mitsuha and Taki are complete strangers living separate lives. But one night, they suddenly switch places. Mitsuha wakes up in Taki’s body, and he in hers. This bizarre occurrence continues to happen randomly, and the two must adjust their lives around each other.