Years ago in a small town, the disappearance of several children remains a mystery. When three outcast brothers steal a strange board on Halloween, they unknowingly summon a horde of ghouls and open the door to the nightmare from the past.

Three children are stalked by hired killers after they unknowingly take evidence pointing to the existence of a corrupt international cartel, which has just murdered their father.

蜜雪兒的四位閨蜜們到山中小屋來找她，許久不見的她們無酒不歡。夜晚降臨，蜜雪兒準備了一個神祕的遊戲：碟仙。沒想到此舉竟引來從前在小屋被燒死的怨靈，姊妹們一個個被附身後開始自相殘殺，剩下的人該怎麼從這裡逃脫呢？

A French video artist traverses Canada on a train that takes her from the east to the west through the snow. This journey leads her to encounter the last girlfriend of her ex-husband, an internationally respected showman who is now dead. Each of the two women will try to understand how the "man of their life" loved and lived with the other. See how they dance.

蜜雪兒的四位闺蜜来到山中小屋找她，许久未见的她们尽情畅饮。夜幕降临，蜜雪兒准备了一个神秘游戏——碟仙。没想到这一举动竟招来了从前在小屋被烧死的怨灵，姐妹们一个个被附身，随后开始自相残杀，剩下的人要如何从这里逃脱呢？

暂无剧情简介

Sergey and Anya are on the verge of divorce. For several years of family life, they managed to get each other hard. Anya reasonably considers Sergei to be a jerk, unsuitable for family life. Sergey got fed up with his wife's constant irritability, he is sure that Anya had never behaved like that before and was funnier. The couple are going to go to the registry office to put an end to the relationship, but fate orders otherwise. Leaving the house, the couple miraculously return to the apartment every time. And this is not the only oddity. It's winter on the calendar, summer outside, and the eternal 8:45 on the clock. And in this new reality, they will have to get along somehow.

Family life in a parisian apartment during the 60's.

Could a conversation with a stranger change the rest of your days?

這段影片試圖通過靜態與動態影像的組合呈現碎片化的城鎮記憶。這些記憶是非連續的片段，並且被去除了原有的地理上的、時間上的和文化上的語境。它們在不斷變化的過程中塑造了我們對周圍生活環境的認知，但卻無法將我們與真實的記憶聯繫起來。最終在它們的影響下，我們將徘徊在現實與虛幻、過去與現在、地方與非地方之間的碎片中。 This experimental film was originally a video installation. It showcases fragments of urban recollections that one fails to place. These fragments are discrete, out-of-context and removed from geographical, chronological, and cultural frameworks. The still and motion images function in different manners of shaping our impressions to the urban landscape but both fail to connect us to the real memories. Eventually they linger as pieces in between the reality and fantasy, past and present, places and non-places.