Considering the underground as both a metaphor and a manifest reality, Zheng’s film Sinking Latitude focuses on a myth about underground flooding. The city where the story takes place has a history of salt mining that spans more than 2000 years, and generations of residents who have lived there have passed down a prophetic myth for centuries–that due to excessive mining, the city's underground has long been hollowed out and depleted, filling with salty brine, and that one day, when an earthquake occurs, an underground flood of salty liquid, the mine itself, will surge out and engulf the city. 　　Zheng’s film takes the form of a fictional dialogue between three characters—puppy, master, and dinosaur—as they discuss this myth. The master has lost their memory of the flood myth, and the puppy takes on the task of recovering this memory with the help of the dinosaur, who represents the impact of time on reality. Through their conversations and questions, the group begins to uncover how the fear of an unknown disaster has affected their perception of the world. The film traverses different locations, making the underground visible, and providing views of cityscapes, a site of dinosaur fossils, salt wells, an abandoned salt factory and its residencies, and sequences of miners using archaic techniques within a salt mining museum, at once performing and working. The landscape is viewed as a perforated body that is littered with debris and risk, with the wells at once towering and deeply rooted in the ground. This documentary-like footage is integrated with scenes shot in the studio or borrowed from the internet, as well as black and white still images of dinosaur bones, and animated footage of the puppy and flooded underground landscapes implying the oncoming future. Indeed, Sinking Latitude continuously crosses temporalities, merging deep time with lived time, recalling past events while also reflecting on relationships in the present, and nervously discussing the uncertain catastrophe that lies ahead. Imagining a hollow and flooded world of liquid salt, Zheng’s film fractures notions of time, agency, and visibility, charting both a feeling of groundlessness, and a fluid bond between geology, biology, and biography. The narrative certainly prompts a reflection on the increasing climate catastrophe and apocalyptic thinking, yet it is more a rumination on time and places where myths, identities, and communities come together, where memories are formed, congealed, and concretized, and realistic fears are displaced as stories. Here, myth is shown to be intimately tied to memory, not only a personal or collective, but also primeval and hydrological.

全片以环保电影为基调，却能够重新扩展出一个崭新的视角。片中定睛注视三个即将因暖化现象而消失的美丽岛屿：太平洋上的吐瓦鲁，纯朴却丰富的常民生活；欧洲水都威尼斯，淹水时仍然营运的旅馆、酒吧，如同幻梦；以及美洲阿拉斯加的冰上山崖。镜头对地球上难以置信的美景和迥异的文化仪式，深致赞美与叹惋。跳脱环保纪录片的格局，充满省思与诗意。

冰川融化引发极端洪水，快速侵蚀使断层松动，导致地震和大规模海啸。随着北美下沉，科学家们正在争分夺秒地建造污水坑，以平衡水位。

冰川融化引发极端洪水，快速侵蚀使断层松动，导致地震和大规模海啸。随着北美下沉，科学家们正在争分夺秒地建造污水坑，以平衡水位。

本剧以1915年《青年杂志》问世到1921年《新青年》成为中国共产党机关刊物为贯穿，展现了从新文化运动到中国共产党建立这段波澜壮阔的历史画卷，讲述觉醒年代的百态人生。该剧以李大钊、陈独秀、胡适从相识、相知到分手，走上不同人生道路的传奇故事为基本叙事线，以毛泽东、陈延年、陈乔年、邓中夏、赵世炎等革命青年追求真理的坎坷经历为辅助线，艺术地再现了一批名冠中华的文化大师和一群理想飞扬的热血青年演绎出的一段充满激情、燃烧理想的澎湃岁月。

1915年9月，陈独秀在上海创办《新青年》，竖起科学与民主两面大旗，新文化运动由此发轫。陈延年和陈乔年因家庭原因记恨父亲陈独秀，父子三人矛盾重重、故…

1998年秋，留学德国的博士工程师柳钧远道而归，他父亲柳石堂因为厂子经营不善，突发中风入院，至今昏迷不醒。柳钧刚出机场就遇到了特意赶来接他的钱宏明，他如今是翔通机械出口公司出口二部的经理。钱宏明打趣道两人是六年没见的“仇人”。

前世丈夫为骗取保证金三千万而撞死夏汐，在之前看清了弟弟妹妹的所有面目，并且所谓的豪门荣华富贵，是夏汐经历了家暴流产从此不能生育的后果，这一世穿越到八十年代绝不会再重蹈覆辙，她要为自己而活，通过前世智慧走出一条属于自己的新生之路。

讲述70年代大马足球队通过重重难关，建立坚忍不拔的斗志和团结精神，在足坛史上写下光辉一页。由真实故事所启发，电影叙述一个多元文化的足球队，如何克服个人艰苦、团队矛盾、热情骤失的考验，并在一次又一次的磨难中，锻炼出过人的毅力和培养出团队默契。这部由周青元执导的原创大马电影，是一篇撼动人心的励志故事，也是一部献给所有大马子民的电影。