本动画片油画色彩浓郁，背景音乐采用的是罗伯特•舒曼的代表作品。 　　一个暴雨之夜，一位在火车站候车的老人来到附近一家陌生的餐馆暂避。坐下之后，他点了一杯红酒开始翻阅报纸，过程中，他不时被餐馆变幻的迷离光影和形形色色的食客所吸引，然而无论别人正在上演怎样的悲欢离合故事，老人都只是静静观察，并不为之动容，餐馆的诸多美味，对他似乎也没有吸引力。

本动画片油画色彩浓郁，背景音乐采用的是罗伯特•舒曼的代表作品。 　　一个暴雨之夜，一位在火车站候车的老人来到附近一家陌生的餐馆暂避。坐下之后，他点了一杯红酒开始翻阅报纸，过程中，他不时被餐馆变幻的迷离光影和形形色色的食客所吸引，然而无论别人正在上演怎样的悲欢离合故事，老人都只是静静观察，并不为之动容，餐馆的诸多美味，对他似乎也没有吸引力。

A recap film depicting the match against Shiratorizawa Academy in the third season of the anime series.

After a disease kills 98% of America's children, the surviving 2% develop superpowers and are placed in internment camps. A 16-year-old girl escapes her camp and joins a group of other teens on the run from the government.

Gifted with the ability to extract and inhabit other people's memories, Greer Thompson is forced to question her own reality when she is confronted by a man that she has affected.

A group of Russian mobsters have stolen a huge supply of paper for printing U.S. currency, and are now flooding the market with conterfeit bills. When one of the mobsters decides to give herself in and hand over a data CD to the DA, she is shot and killed, but not before handing the disc to an unsuspecting Tommy Lee. Despite working with the police as a martial arts instructor, Lee doesn't go to the cops with the disc, but instead goes on the run, giving the mafia time to kidnap his daughter and hold as a hostage in exchange for return of the disc. Will Tommy ever see his daughter again?

For the third and final contribution to Contour Biennale 8, inhabitants has commissioned Adam Khalil and Zack Khalil in order to host an urgent reflection on indigenous sovereignty, the undead violence of museum archives, and post-mortem justice. 　　Filmmakers Adam and Zack Khalil, in collaboration with artist Jackson Polys, investigate the recent court case that decided the fate of the remains of a prehistoric Paleoamerican man found in Kennewick, Washington State in 1996. The case pitted the Umatilla people and other tribes, who wanted to provide a burial to the “Ancient One”, against two scientists—one of which from the publicly-funded Smithsonian Institute—who wanted to study the “Kennewick Man”. In order for the claim to fall under the Native American Graves Protection and Repatriation Act (NAGPRA) it became necessary to establish the lineage of these remains. This fight unleashed a controversy with groups attempting to establish white ancestry, and with this seeking to altogether undermine the indigenous sovereignty over land and ancestors and annul centuries of colonial violence. The evolving science of DNA and cranial morphology was grotesquely called in to testify to the purity of the bones’ ethnicity, where native claims to embodied knowledge of its origin had little means of addressing the court. Despite all of this, the Umatilla people and other tribes ultimately repatriated the “Ancient One” and he was reburied earlier this year in 2017. 　　Bios: 　　Adam Khalil and Zack Khalil (Ojibway) are filmmakers and artists from Sault Ste. Marie, Michigan and currently based in Brooklyn, New York. Their work subverts traditional forms of ethnography through humor, transgression, and innovative documentary practice. Their films and installations have been exhibited at the Museum of Modern Art, Walker Arts Center, e-flux, UnionDocs, and Microscope Gallery. 　　Jackson Polys is an artist who lives and works between what is currently called Alaska and New York. His work reflects examinations into the limits and viability of desires for indigenous growth. He began carving with his father, Tlingit artist Nathan Jackson, in high school, has worked as an artist based in Alaska as Stron Softi, with solo exhibitions at the Alaska State Museum and the Anchorage Museum, and holds an MFA in Visual Arts from Columbia University’s School of the Arts (2015).

For the third and final contribution to Contour Biennale 8, inhabitants has commissioned Adam Khalil and Zack Khalil in order to host an urgent reflection on indigenous sovereignty, the undead violence of museum archives, and post-mortem justice. 　　Filmmakers Adam and Zack Khalil, in collaboration with artist Jackson Polys, investigate the recent court case that decided the fate of the remains of a prehistoric Paleoamerican man found in Kennewick, Washington State in 1996. The case pitted the Umatilla people and other tribes, who wanted to provide a burial to the “Ancient One”, against two scientists—one of which from the publicly-funded Smithsonian Institute—who wanted to study the “Kennewick Man”. In order for the claim to fall under the Native American Graves Protection and Repatriation Act (NAGPRA) it became necessary to establish the lineage of these remains. This fight unleashed a controversy with groups attempting to establish white ancestry, and with this seeking to altogether undermine the indigenous sovereignty over land and ancestors and annul centuries of colonial violence. The evolving science of DNA and cranial morphology was grotesquely called in to testify to the purity of the bones’ ethnicity, where native claims to embodied knowledge of its origin had little means of addressing the court. Despite all of this, the Umatilla people and other tribes ultimately repatriated the “Ancient One” and he was reburied earlier this year in 2017. 　　Bios: 　　Adam Khalil and Zack Khalil (Ojibway) are filmmakers and artists from Sault Ste. Marie, Michigan and currently based in Brooklyn, New York. Their work subverts traditional forms of ethnography through humor, transgression, and innovative documentary practice. Their films and installations have been exhibited at the Museum of Modern Art, Walker Arts Center, e-flux, UnionDocs, and Microscope Gallery. 　　Jackson Polys is an artist who lives and works between what is currently called Alaska and New York. His work reflects examinations into the limits and viability of desires for indigenous growth. He began carving with his father, Tlingit artist Nathan Jackson, in high school, has worked as an artist based in Alaska as Stron Softi, with solo exhibitions at the Alaska State Museum and the Anchorage Museum, and holds an MFA in Visual Arts from Columbia University’s School of the Arts (2015).

In 1961, filmmaker Robert Gardner organized the Harvard Peabody Expedition to Netherlands New Guinea (today West Papua). Funded by the Dutch colonial government and private donations, and consisting of several wealthy Americans wielding 16mm film cameras, still photographic cameras, reel-to-reel tape recorders, and a microphone, the expedition settled for five months in the Baliem Valley, among the Hubula people. It resulted in Gardner’s influential film Dead Birds, two photo books, Peter Matthiessen’s book “Under the Mountain Wall,” and two ethnographic monographs. Michael Rockefeller, of the Standard Oil Rockefellers, was tasked with taking pictures and recording sound in and around the Hubula world. 　　Expedition Content is an augmented sound work composed from 37 hours of tape, which document the strange encounter between the expedition and the Hubula people. The piece reflects on intertwined and complex historical moments in the development of approaches to multimodal anthropology, in the lives of the Hubula and of Michael, and in the ongoing history of colonialism in West Papua.

Dark-humored, wise-cracking personality iDubbbz brings criticism and mentality to the online hellhole known as "YouTube", through arguing against the content of some especially disgraceful video makers whose themes range from shallow bullying to self-glorification. The fight for good content has begun.