Famous writer, Marat retires to Portugal, where he lives surrounded by his family, including his wife Genevieve. When she learns she is diagnosed with cancer, she tries to hide the truth. But Marat doesn't take time to know.

吴达洙以独立电影《监视对象》回归，该片以监狱为背景，讲述在监狱发生的故事，9月正式开拍。

egina is a woman from a poor family and married with and former secretary of the wealthy Hélio. Regina has a block with Hélio and can not have sex with him, in spite of fantasizing kinky sex with every man she meets. She goes to a shrink and while resolving her childhood trauma, Hélio has an affair with his secretary Lúcia and leaves Regina. Later, they meet each other by chance, and the healed Regina finally satisfies Hélio.

这是一次前往乌拉尔山脉腹地的诗意之旅。在那里，外星生物的发现揭开了一个挥之不去的秘密。

egina is a woman from a poor family and married with and former secretary of the wealthy Hélio. Regina has a block with Hélio and can not have sex with him, in spite of fantasizing kinky sex with every man she meets. She goes to a shrink and while resolving her childhood trauma, Hélio has an affair with his secretary Lúcia and leaves Regina. Later, they meet each other by chance, and the healed Regina finally satisfies Hélio.

这是一个有关肯尼思的编织的传闻，他是一个善于社交的但不可靠的技巧作家，强迫“Nikki”和他发生关系。“Nikki”是一种解剖结构精巧的硅树脂材料的性欲玩偶，从互连网上订购而来。自从肯尼思和他的新玩具进行了一些练习后，他的生活发生了翻天覆地的变化，从他身上发掘出来的浪漫气质吸引了办公室同事利萨的注意。但是当玩偶的嫉妒本性开始攻击他的意识之后，肯尼思陷于一种不正常的三角关系中，在专横的硅树脂Nikki和鲜活真实的利萨之间疲于奔命。

Jane is trapped in an unknown world with endless possibilities. She has to discover a way to access them and alter her reality before she is destined to repeat the same test over and over again, Ad Infinitum.

Jane is trapped in an unknown world with endless possibilities. She has to discover a way to access them and alter her reality before she is destined to repeat the same test over and over again, Ad Infinitum.

En France, Sarah et Pascal s’aiment en dépit des différences qui les séparent. En Algérie, Fatima et Yacine font des projets de vie commune. Mais leurs destins sont peut être déjà tracés…

Elusive and illusory, Unreachable Object is a layered exploration of the performance of motherhood. Ostensibly breaking the fourth wall, director Fanfan Zhou takes us through the casting and rehearsal process for a personal scene whose veracity is obscured by the capricious nature of memory and grief. Unpicking the role of visual cultures in epistemology, the resulting work is both engrossing and unnerving.