深入探讨世界著名自杀地点之一——“富士树海”，这里每年约有100具自杀者遗体被发现。这一震撼之作，将揭开这片死亡之地背后的可怕谜团。

Members of a youth soccer club disappear on their way to a game. The following footage was found soon after.

A parody of “My Little Pony: Friendship“, the Pony.Mov series takes us on the raunchy, crude, politically incorrect adventures of satirical versions of Twilight Sparkle, Rainbow Dash, Applejack, Fluttershy, Rarity, Pinkie Pie, and Spike as they each go through their own trials.

A hacker discovers a Zoom file on a local Police server and leaks it to the public. The contents of the file have been kept under wraps to avoid further public outcry and protests. What may seem to be your typical weekly office Zoom call turns into a missing employee and a "who done it" mystery.

Burdened with financial debt and the estrangement of his son, fast food worker Travis Howell finds refuge by channeling his overnight meme status into an increasingly dangerous and powerful online conspiracy show.

某电视台以富士树海为主题，派出摄制组前往这个神秘肃杀的所在实地采访。在密林中，工作人员们发现一部手机，里面存有不少的视频，主要关于三个女子高中生。其中一人试图自杀，另外两人则希望目击他人死亡的瞬间。三人通过SNS取得联系，并相约在富士树海碰头。这里遍布着自杀者留下的绳索、鞋子和胶带，女孩们寻找理想的自杀地点，期间也听说不少关于树海的传说。未过多久，她们来到了一个由自杀未遂人员组成的“重生之村”，然而这里却有可怕事实等待着她们……

Is it possible to make an appealing short film by only making use of your computer screen and a voice-over when you’re in a COVID 19-lockdown? The answer is yes. As long as you start with a simple, yet interesting question. Megan Dieudonné and Andrea Rüthel absolutely achieved this. During the pandemic, they noticed they spent a lot of time at home in front of their computer screens. They started wondering where their screensavers came from. The philosophical journey they subsequently take you on by using open sources, such as Google Maps and others, trying to locate the exact places of their screensavers and in-depth stories around them, is mindboggling.

一个青少年足球俱乐部的成员在去参加比赛的路上失踪了。不久后发现了以下视频片段。

Steyerl’s HOW NOT TO BE SEEN: A Fucking Didactic Educational .MOV File is what its title purports it to be: a sly parody of an instructional video (the first part of the title borrowed from a Monty Python sketch). Each of the work’s four sections outlines some tongue-in-cheek strategies to avoid being seen—from hiding in plain sight, to shrinking down to a unit smaller than a pixel, to living in a gated community, to being female and over 50 years old. A seemingly automated male voice reads out the instructions in a droll English accent, and Steyerl herself, along with several faceless figures (the kind you’d see in a simulated architectural model), demonstrate the proposed methods. Many of them, like to shrink, to swipe, and to take a picture, are accompanied by gestures familiar from the iPhone—pointing to the fact that the bodies in question here exist in (and take their choreographic cues from) a world that’s at once virtual and material.