Southern Bypass is a road south of Nairobi in Kenya that leads into the heart of the city; This single take shot was filmed from 5.49 am to 6 am heading in the direction of the sunrise. The motorbike rider is a boda boda, a motorcycle taxi service. Where they came from and where they are going is incidental to their state of being; they are still and the world around them moves.

即将退伍的南韩兵长千禹（高庚杓饰演），某天意外在紧绷的南北韩军事线附近，捡到一张飘向自己的头奖彩券，之后却一个不小心，让这张彩券乘风飘向无法涉足的北韩…。为了靠57亿奖金实现退伍梦想，他使出浑身解数寻找彩券，没想到竟被北韩士兵荣浩（李伊庚饰演）给捡到…。跟彩券擦身而过的 千禹，以及在北韩不过是张纸片，必须到南韩把彩券换成奖金的荣浩，再加上意想不到的成员们共同加入，双方为了死守这57亿巨额奖金，决定“越线”展开惊险刺激的机密协商······

(无声片） 　　Kurt Kren是世界大战后，欧洲的实验，前卫电影前锋。1929年出生 　　Action Films收录了60年代维也纳行动派的行为艺术作品纪录，好几个都是Otto Mühl的的行为艺术。关于Otto Mühl说的好听就是前卫艺术，说的难听就是变态行为，他对人体（尤其是屁股）有种执着。他喜欢在人体上涂撒各种颜料，鸡蛋，食物，钉子等等各种东西。对大小便行为也非常执着。 　　Otto Mühl在70年代提倡FreeSex开了个AAO(AKTIONS-ANALYTISCHE ORGANISATION)的教派，因80年代后半期被发现和信者的女孩有性关系，90年代做了7年牢。 　　Kurt Kren喜欢用的摄影手法就是把剪接下来的镜头合成以后，再高速度播放做成一个片子，有些片子如果普通拍的话会觉得毫无意思，Kurt Kren就把普通的画面做的非常前卫。

A comical encounter between South and North Korean soldiers over the 5.7 billions won lottery that crossed the military demarcation line on the wind.

"6" is an anthology feature film, comprised of six separate vignettes with a common theme of female empowerment and slasher moments. The chapters include "Extreme Dating Game," "Uncivil War," "Freda," and three more terrifying tales. 6...it's the sum of your fears.

刑警大队队长齐宝根因1988年金额巨大的抢劫杀人案,为守护真相与正义，不惜长期蛰伏,半生只做一件事，与把嫌疑人沈卫东开展了一场长达二十 　　年的“猫鼠游戏”的信念追逐。

刑警大队队长齐宝根因1988年金额巨大的抢劫杀人案,为守护真相与正义，不惜长期蛰伏,半生只做一件事，与把嫌疑人沈卫东开展了一场长达二十 　　年的“猫鼠游戏”的信念追逐。

http://www.youtube.com/watch?v=hUcvhGJFexc 　　7 min

Film's title roughly translates as "window lookers, garbage, etc." Kren juxtaposes blocks of images in montage sections cut to different rhythms and speeds. The "window lookers" - old people who rest elbows on pillows at windows - view the activities on the streets below: this action begins and ends the film and is repeated within the work many times. There are also sections depicting debris and broken glass, pedestrians, and positive and negative images of the moon. Splice marks, especially during the window scenes, are apparent, punctuating the silent work and reminding us of the film. While we may make associations among the image clusters, there is no narrative per se, and the rapid cutting purposefully undercuts any emotional expressiveness the material might contain.