"Four days spent in a studio working on a centerfold photo for Playboy magazine provided the subject matter for my film. The magazine itself deals with culture, cars, a certain lifestyle. Maybe all those trappings are only there to cover up the naked woman. Maybe it's like with a paper-doll. The naked woman in the middle is a sun around which a system revolves: of culture, of business, of living! (It's impossible to either look or film into the sun.) One can well imagine that the people creating such a picture, the gravity of which is supposed to hold all that, perform their task with as much care, seriousness, and responsibility as if they were splitting uranium. 　　This film, An Image, is part of a series I've been working on since 1979. The television station that commissioned it assumes in these cases that I'm making a film that is critical of its subject matter, and the owner or manager of the thing that's being filmed assumes that my film is an advertisement for them. I try to do neither. Nor do I want to do something in between, but beyond both." 　　--Harun Farocki, Zelluloid, no. 27, Fall 1988

很久以前，住在山麓中的壮（僮）族妈妈妲布和三个儿子靠织锦、砍柴为 生。一天，妲布从集市上买回一幅美丽的田园画，决心照样织成僮锦。她夜以继日，整整化了三年时间，方才织成。正当一家围着僮锦观赏时，忽然一阵狂风卷来，僮锦随风飘去，不见踪影。妲布焦急万分，嘱咐老大、 老二速去找回僮锦。他俩来到大山隘口，见有个老奶奶坐在石屋门前，急忙前去询问僮锦下落。老奶奶告诉他们僮锦藏在太阳山的仙宫里，沿途艰险。

很久以前，住在山麓中的壮（僮）族妈妈妲布和三个儿子靠织锦、砍柴为 生。一天，妲布从集市上买回一幅美丽的田园画，决心照样织成僮锦。她夜以继日，整整化了三年时间，方才织成。正当一家围着僮锦观赏时，忽然一阵狂风卷来，僮锦随风飘去，不见踪影。妲布焦急万分，嘱咐老大、 老二速去找回僮锦。他俩来到大山隘口，见有个老奶奶坐在石屋门前，急忙前去询问僮锦下落。老奶奶告诉他们僮锦藏在太阳山的仙宫里，沿途艰险。

很久以前，住在山麓中的壮（僮）族妈妈妲布和三个儿子靠织锦、砍柴为生。一天，妲布从集市上买回一幅美丽的田园画，决心照样织成僮锦。她夜以继日，整整化了三年时间，方才织成。正当一家围着僮锦观赏时，忽然一阵狂风卷来，僮锦随风飘去，不见踪影。妲布焦急万分，嘱咐老大、老二速去找回僮锦。他俩来到大山隘口，见有个老奶奶坐在石屋门前，急忙前去询问僮锦下落。

很久以前，住在山麓中的壮（僮）族妈妈妲布和三个儿子靠织锦、砍柴为生。一天，妲布从集市上买回一幅美丽的田园画，决心照样织成僮锦。她夜以继日，整整化了三年时间，方才织成。正当一家围着僮锦观赏时，忽然一阵狂风卷来，僮锦随风飘去，不见踪影。妲布焦急万分，嘱咐老大、老二速去找回僮锦。他俩来到大山隘口，见有个老奶奶坐在石屋门前，急忙前去询问僮锦下落。

悭家！这是一门现代人想要上车买房不得不参透的生存绝学。在香港，做到悭家或许意味着痛苦、忍受和迫不得已，但在日本，要实现“花更少的钱”同时“过得开心”的双赢局面并非难事。趁着日元跌至二十年低位，曾经体验过日本悭家生活的 Win Win，再度踏上这个以美食平价、购物实惠闻名的国度，体验各种价格亲民的地道玩法，全方位感受日本接地气又性价比高的一面。

慳家！一門現代人為上車，為買樓，不得不參透的生存絶學。在香港，要做到慳家可能是痛苦，是忍受，是迫於無奈，但在日本，要達成「花少了錢」同時「過得開心」這雙贏局面卻非難事。趁著日圓跌至廿年低位，曾經體驗過日本慳家生活的 Win Win，再次踏足這個出名食得平、買得抵的樂土，體驗各種平有平玩的地道玩意，全方位感受日本貼地抵玩的一面。

一個最貪心但最開心嘅旅遊提案—《日本winwin企画》，帶觀眾以神CP的價錢，全方位體驗日本，成就慳到錢又開心的雙贏旅行。第一季《日本winwin企画》由曾到日本工作假期及學舞的Win Win，帶觀眾遊覽東京、大阪、兵庫等地區，今季將會擴張版圖，由名古屋玩到九州，展現更多日本和Win Win的新面向。

来自柏林的年轻诺拉在服用一种新的派对药物后从昏迷中醒来，并且不再记得任何事情。当调查员尼克·纳瓦尔和大卫·莱昂哈特发现许多青少年因派对毒品“极乐”的传播而失踪时，诺拉开始调查。她揭开了一个离奇的阴谋：外星人利用这种药物，以受害者的尸体为宿主。

At the age of 16, Martha Coolidge was raped by a fellow student. This experience, and in particular the emotions and rhetoric in its aftermath, forms the starting point for this Brechtian film, in which Coolidge re-enacts the event and places the creative process in the foreground. 　　From the beginning, there is a clear distinction between the fictional scenes, in which the acting is deliberately slightly affected, and the documentary sequences, in which the actors discuss their roles and their own experiences. This produces a dialectical film about the gray areas of adolescent sex, and the web of insecurity, ignorance, privilege and performance pressure that can so easily turn into a toxic cocktail. 　　Coolidge further complicates matters in the intense rehearsal scenes, in which it is often not clear to the viewer what agreements have been made and whether they are being adhered to. Thus, these scenes themselves also enter gray areas, confronting the viewer with the ease with which boundaries can be blurred, shifted and crossed when they are not clearly drawn. 　　源自：https://festival.idfa.nl/en/film/ae49286a-02e8-4402-b6c0-5e7fa404c659/not-a-pretty-picture/