1999年世纪末，一颗印度的核子卫星即将坠地，地球上一片恐慌，视之为世界末日的到临。住在巴黎的女子克蕾儿（Solveig Dommartin饰）在一次离开男友尤金（Sam Neill饰）的浪游中，认识疑为工业间谍的崔佛（William Hurt饰），并且深深为之着迷。一 次车祸意外中，克蕾儿认识二名抢匪，受托运送大批赃款，克蕾儿开始出发去寻找迷一样的人物崔佛。他们的足迹遍布四大洲：从尼斯、巴黎、柏林、里斯本、莫斯科、北京、东京、追逐到旧金山、雪梨，最后到达澳洲中部荒芜的库柏培地原住民生活区。过程中，克蕾儿终于知道崔佛的本名是山姆法柏。他不是工业间谍，而是一位科学家的儿子。许多私家侦探追逐他的原因是老法柏（Max von Sydow饰）制造了一个可以让盲人看见的摄影机。为的是要让山姆目盲的母亲（Jeanne Moreau饰）可以看见她的亲人。就在一群人汇集澳洲峡谷的时候，核子卫星被美国打下，核磁波干扰了所的电器设备，一切都恢复原始的状态。外头的世界不知是生是死？这群人在地下实验室里开始了一连串超越人类科技的实验，数字摄影转换成脑波、再转换成影像的实验成功，终于让山姆的母亲看见家人，不久终因体力不胜负荷而去世。临死前，他母亲说：「看不见反而更好，这世界竟变得如此丑陋。」温德斯的微言大义，在此作了深刻的呈现。之后，包括老法柏、山姆和克蕾儿都陷入对梦境的痴迷中。他们把梦境转成视觉，让人可以读梦（老法柏一直想因此获得诺贝尔奖），山姆和父亲的冲突矛盾、克蕾儿对童年之梦的偏执，像一层层的牢笼，将他们紧紧网住。使每一个人都陷入偏执的迷失当中。只有陈述此事件的尤金是清醒的。他知道世界并没有毁灭（只是时受核磁脉冲影响），只是这群人陷在不可自拔的梦境追寻中。于是一切如尤里西斯的漫游遂都有了反映与解答。

1999年世纪末，一颗印度的核子卫星即将坠地，地球上一片恐慌，视之为世界末日的到临。住在巴黎的女子克蕾儿（Solveig Dommartin饰）在一次离开男友尤金（Sam Neill饰）的浪游中，认识疑为工业间谍的崔佛（William Hurt饰），并且深深为之着迷。一 次车祸意外中，克蕾儿认识二名抢匪，受托运送大批赃款，克蕾儿开始出发去寻找迷一样的人物崔佛。他们的足迹遍布四大洲：从尼斯、巴黎、柏林、里斯本、莫斯科、北京、东京、追逐到旧金山、雪梨，最后到达澳洲中部荒芜的库柏培地原住民生活区。过程中，克蕾儿终于知道崔佛的本名是山姆法柏。他不是工业间谍，而是一位科学家的儿子。许多私家侦探追逐他的原因是老法柏（Max von Sydow饰）制造了一个可以让盲人看见的摄影机。为的是要让山姆目盲的母亲（Jeanne Moreau饰）可以看见她的亲人。就在一群人汇集澳洲峡谷的时候，核子卫星被美国打下，核磁波干扰了所的电器设备，一切都恢复原始的状态。外头的世界不知是生是死？这群人在地下实验室里开始了一连串超越人类科技的实验，数字摄影转换成脑波、再转换成影像的实验成功，终于让山……

一个男人和一个女人开着一辆野营车在世界各地旅行。尼吉是一位充满热情的摄影师，他挚爱的妻子安妮特却因二十年前的意外而高位截瘫，脖子以下都无法动弹。尽管如此，两人依然一往无前，与生活斗智斗勇，从痛苦中找寻意义。然而，当两人的生活现状发生巨变，他们的感情是否也会遭遇波折？带着好奇与思考，《永远与永恒》的导演试图在影片中找出一条万全之策。

一个男人和一个女人开着一辆野营车在世界各地旅行。尼吉是一位充满热情的摄影师，他挚爱的妻子安妮特却因二十年前的意外而高位截瘫，脖子以下都无法动弹。尽管如此，两人依然一往无前，与生活斗智斗勇，从痛苦中找寻意义。然而，当两人的生活现状发生巨变，他们的感情是否也会遭遇波折？带着好奇与思考，《永远与永恒》的导演试图在影片中找出一条万全之策。

影片讲述美籍华人吴菲，她沿着汉江来到汉水南岸一座有着三百年历史的古老村落，寻找祖母的故乡的故事。这也是一部以外来的、世界的眼光，重新打量和解读中国传统的“道法自然”，展现中国农耕文明及其在现代文明中的启示和意义的影片。 　　电影类型为公路片的外壳，文艺片的内核，以故事情节自然推动探讨深层次人类永恒的追问：我们到底在寻找什么，什么样的世界才是我们想要的世界，我们从哪里来，要到哪里去？ 　　美籍华人吴菲，生活一直游走在支离破碎的现实与超现实的梦境中不能自拔，她对故乡的思念、对爱情的不确定，前途的迷惘……种种情愫混杂在一起，彼此纠缠，终于有一天，她按照祖母留下的藏头诗，来到中国，沿着长江寻找故乡，她看见了在河水边的长桌宴，百岁通神的老人……以及三百年了依然飘着稻花香的“道法自然”修建的不需要人工灌溉的梯田，她看见了自己从来没有见过的世界，也找到了内心的困惑所在，走出了迷惘。 　　电影风格以写意的镜头为主，将司空见惯的场景拍摄得诗意，吴菲走在一个个精选的场景中像是走在一个又一个梦中，唯美却又真实，演员表演风格清新、自然，与人物所处的环境相得益彰，不动声色地展现人物的内心世界，色彩较好地呈现人物之间矛盾与冲突，强化每一个戏剧场面的情绪，为人物服务。 　　台词以诗意哲理的对话，几首短诗作为旁白，呈现女主的内心世界，音乐除了烘托剧情需要外，以写意的、轻盈的为主，电影结构一气呵成。

During a flight, passengers confront their aspirations, frustrations, fears, wishes and fears, mixing up reality and fiction. 　　Several characters board a plane: a soccer team, a football manager, a decrepit old man, a group of nuns and an advertinsing girl. Dreams, delusions, ideas and concrete situations related or not an individual to another. Archive scenes of war, famine and religious pilgrimages interleave to a mythical woman Nature. 　　fiction, 35 mm, pb, 95 min, based on sequences in the chapter "O delírio" of "Memórias póstumas de Brás Cubas" de Machado de Assis. 　　Fernando Cony Campos supported originality in artistic creation. He conceived it in terms of proposal, perspective, viewpoint, style, means and whatever could help form a distinctive vision. As personalities like Jean-Luc Godard or Glauber Rocha had emerged, it was up to the filmmaker to seek an alternate path to theirs, though he might fall short with the possible geniality of either. 　　This proposition alone would enable us to bring him closer to the experimental sensitivity which would eventually explode at the end of the 60s. The contact points, however, exceeded the merely shared principles. Although largely a result of a poor, long, full of setbacks production, “Voyage to the End of the World” already had in the midst of its original design elements which distinguish it as one of the immediate precursors of “Udigrúdi”. Particularly, the overlapping of various levels of enunciation and of various forms of contemporary language gradually destroys the idea of a narrative, even a sophisticated narrative as the one presented by the New Cinema directors. 　　Furthermore, if the ideological universe of the film still enables its inclusion in the group of the New Cinema, there’s a refusal to purely and simply condemn the means (or media), as they are away from mass culture. Counterculture may be alienated, but it is expressive in its constituents and particularly indicative of a state of things. Political disillusionment coexists with the chaos of the inevitable transformation. Not surprisingly does the work develop from the casual meeting of a pocket book of “Posthumous Memoirs of Brás Cubas” at a newsstand and continues incorporating fascism, consumption, mysticism, poverty... and, in an innovative, emblematic way, ”Tropicalism” (the film is full of that movement classics "Joy, joy", "Soy loco for ti America" and "Tropicália".) 　　At some point, you hear a possible self-definition of the work: "The biggest error in this movie is you, you viewer. You’re in a hurry to grow old. And the film goes slowly. You love the direct, nourished narration. The regular, fluent style. And this film and my style are like cypresses which turn left and right, move and stop, mumble, bicker, laugh, threaten the sky, slip and fall. And they fall."

During a flight, passengers confront their aspirations, frustrations, fears, wishes and fears, mixing up reality and fiction. 　　Several characters board a plane: a soccer team, a football manager, a decrepit old man, a group of nuns and an advertinsing girl. Dreams, delusions, ideas and concrete situations related or not an individual to another. Archive scenes of war, famine and religious pilgrimages interleave to a mythical woman Nature. 　　fiction, 35 mm, pb, 95 min, based on sequences in the chapter "O delírio" of "Memórias póstumas de Brás Cubas" de Machado de Assis. 　　Fernando Cony Campos supported originality in artistic creation. He conceived it in terms of proposal, perspective, viewpoint, style, means and whatever could help form a distinctive vision. As personalities like Jean-Luc Godard or Glauber Rocha had emerged, it was up to the filmmaker to seek an alternate path to theirs, though he might fall short with the possible geniality of either. 　　This proposition alone would enable us to bring him closer to the experimental sensitivity which would eventually explode at the end of the 60s. The contact points, however, exceeded the merely shared principles. Although largely a result of a poor, long, full of setbacks production, “Voyage to the End of the World” already had in the midst of its original design elements which distinguish it as one of the immediate precursors of “Udigrúdi”. Particularly, the overlapping of various levels of enunciation and of various forms of contemporary language gradually destroys the idea of a narrative, even a sophisticated narrative as the one presented by the New Cinema directors. 　　Furthermore, if the ideological universe of the film still enables its inclusion in the group of the New Cinema, there’s a refusal to purely and simply condemn the means (or media), as they are away from mass culture. Counterculture may be alienated, but it is expressive in its constituents and particularly indicative of a state of things. Political disillusionment coexists with the chaos of the inevitable transformation. Not surprisingly does the work develop from the casual meeting of a pocket book of “Posthumous Memoirs of Brás Cubas” at a newsstand and continues incorporating fascism, consumption, mysticism, poverty... and, in an innovative, emblematic way, ”Tropicalism” (the film is full of that movement classics "Joy, joy", "Soy loco for ti America" and "Tropicália".) 　　At some point, you hear a possible self-definition of the work: "The biggest error in this movie is you, you viewer. You’re in a hurry to grow old. And the film goes slowly. You love the direct, nourished narration. The regular, fluent style. And this film and my style are like cypresses which turn left and right, move and stop, mumble, bicker, laugh, threaten the sky, slip and fall. And they fall."

YouTuber梁嘉铭(Ming仔)旅游足迹遍踏世界角落，从一个人去旅行之中，发掘一次又一次的的独行美丽！Ming仔这次在电视荧光幕充当向导，引领观众畅游英国，起点是他首度踏足的城市曼彻斯特，见证工业革命的伟大历史；再于约克细味中世纪古城美态。转赴北爱尔兰，深入大小城镇，感受传统英伦文化；疯狂品尝当地美食，为味蕾带来极致享受！回到伦敦，跟着Ming仔开展其深度英伦之旅，会有什么意想不到的难忘体验？

YouTuber梁嘉铭(Ming仔)旅游足迹遍踏世界角落，从一个人去旅行之中，发掘一次又一次的的独行美丽！Ming仔这次在电视荧光幕充当向导，引领观众畅游英国，起点是他首度踏足的城市曼彻斯特，见证工业革命的伟大历史；再于约克细味中世纪古城美态。转赴北爱尔兰，深入大小城镇，感受传统英伦文化；疯狂品尝当地美食，为味蕾带来极致享受！回到伦敦，跟着Ming仔开展其深度英伦之旅，会有什么意想不到的难忘体验？

ELLE首部微電影【她．一個人的旅行】7月6日於台北電影節全球首映。ELLE與妳一起旅行．邂逅巴黎。