In English, “trespass” means to intrude, but it could also be an unauthorized entry, or in legal jargon, a “domestic disturbance.” trespass, Paul Wenninger’s ten-minute real-animation film plays with all of these meanings in a technically impressive, varied, and precise tour de force. A consistent element throughout is a type of avatar of the director, a character created from real images, whom the film sends on a world journey, of sorts, within his own four walls. The penetration of the outside world is both abrupt and varied: whereas the strange, inert main figure with his jerky movements initially seems isolated in the bare dungeon of a green-painted cell, all at once, windows are inserted in this monad—to use the terminology of the philosopher Leibniz. A wild process of transgression can now begin. Not only does an excess of “world” suddenly appear in the cell windows, but the entire background, from which the character is set-off, is filled with profuse images of the most distant scenes in Eritrea, Brussels, Helsinki, Vienna, and France. The “backdrops” change and tumble into one another, as though by mouse click, which hardly affords the thoroughly stationary protagonist a hold. Although he maneuvers through and deals with a seemingly endless assortment of everyday objects, he still remains imprisoned in a cell-like existence. In the end, he must attend his own death and the slow draining of his blood—paint that mutates to blood and then back to paint again. The “intrusion” from outside is thus subjected to a paradoxical twist: it is not the world, another life, a foreign power that can suddenly be felt in the here and now, but instead, despite all of its animation and dynamics, the character’s own vitality is increasingly “divested” as the film progresses. trespass hereby brings to bear a clever, visually enchanting subject-object reversal—moving beyond, even moving beyond oneself, which for the longest time, one seems to perceives as an invasion from the outside. (Christian Höller)

In English, “trespass” means to intrude, but it could also be an unauthorized entry, or in legal jargon, a “domestic disturbance.” trespass, Paul Wenninger’s ten-minute real-animation film plays with all of these meanings in a technically impressive, varied, and precise tour de force. A consistent element throughout is a type of avatar of the director, a character created from real images, whom the film sends on a world journey, of sorts, within his own four walls. The penetration of the outside world is both abrupt and varied: whereas the strange, inert main figure with his jerky movements initially seems isolated in the bare dungeon of a green-painted cell, all at once, windows are inserted in this monad—to use the terminology of the philosopher Leibniz. A wild process of transgression can now begin. Not only does an excess of “world” suddenly appear in the cell windows, but the entire background, from which the character is set-off, is filled with profuse images of the most distant scenes in Eritrea, Brussels, Helsinki, Vienna, and France. The “backdrops” change and tumble into one another, as though by mouse click, which hardly affords the thoroughly stationary protagonist a hold. Although he maneuvers through and deals with a seemingly endless assortment of everyday objects, he still remains imprisoned in a cell-like existence. In the end, he must attend his own death and the slow draining of his blood—paint that mutates to blood and then back to paint again. The “intrusion” from outside is thus subjected to a paradoxical twist: it is not the world, another life, a foreign power that can suddenly be felt in the here and now, but instead, despite all of its animation and dynamics, the character’s own vitality is increasingly “divested” as the film progresses. trespass hereby brings to bear a clever, visually enchanting subject-object reversal—moving beyond, even moving beyond oneself, which for the longest time, one seems to perceives as an invasion from the outside. (Christian Höller)

一个最近与富有的丈夫分居的女人。在一个痛苦的夜晚被吓坏了，当时一个蒙面入侵者闯入了她的家。是随机的家庭入侵，还是更恶意和个人的事情正在发生？

一群中国留学生穿梭于波士顿的各个地方，游走在市中心与郊区之间。我们不知道他们的具体关系，只知道他们生活的局部，和他们身处的地方。我们看见他们在街道上漫游，或在原地思考些什么。一场偶遇，聚会，别离仿佛即将发生在他们身上，但又因为他们的出画而戛然而止。尽管生活慢慢步入正轨，但仍有一种暗流隐藏在凝滞的日常碎片之中。

哈里，一个迷人的偷房贼，在一次未遂的入室行窃中，当他偶然发现黛西并决定把她从她自己手中救出来时，得到的东西比他讨价还价还多，于是他们两个人进入了一个黑暗的喜剧式的自我发现和爱之旅。

哈里，一个迷人的偷房贼，在一次未遂的入室行窃中，当他偶然发现黛西并决定把她从她自己手中救出来时，得到的东西比他讨价还价还多，于是他们两个人进入了一个黑暗的喜剧式的自我发现和爱之旅。

该剧讲述了鬼马少女慕晓如“偶然”闯入来自平行世界的高冷教授晏随的神秘空间，并由此引发出一场颠覆了乱世、古代、平行都市的浪漫逆袭之旅。

该剧讲述了鬼马少女慕晓如“偶然”闯入来自平行世界的高冷教授晏随的神秘空间，并由此引发出一场颠覆了乱世、古代、平行都市的浪漫逆袭之旅。

老邓 （吕中饰）在青年时代响应国家号召到贵阳支援建设。回到北京后，老邓与两个儿子回归平淡生活。然而一系列意外出现的人和事打破了老邓一家的平静：家中时不时响起的沉默来电，屡次“碰巧”遇见、让老邓感到似曾相识的陌生少年，小区里发生难解的谋杀悬案，似乎将有一场翻云覆雨的风暴正向老邓和她的家人们袭来。老邓串起眼前发生的一系列离奇事件，在贵阳的记忆逐渐在她眼前浮现。为了寻找答案，也为了当年的遗憾，她踏上了去贵阳的旅程，而在那里，另一重意外也在等待着她 。

卫昕与沈澄轩因对方出轨决裂，后意外相识并产生感情。黎芊芊爱慕沈澄轩，联合常溪寒多次设计陷害卫昕，制造绯闻、伪造受贿证据，还利用卫昕嗜赌的父亲卫理闹事，企图破坏二人关系与卫昕的记者事业。沈澄轩始终坚定维护卫昕，揭露黎芊芊与常溪寒的阴谋。过程中，众人发现父辈间的旧怨。最终，卫昕与沈澄轩收集证据，在法庭上让黎芊芊、常溪寒、陈敬山得到法律制裁。卫昕获年度风云记者，两人也收获圆满爱情。