《不是所有爸爸都站着尿尿》（Tous les papas ne font pas pipi debout ）是一部温馨可爱的小品影片。内容描述两个女同志恋人Zoe和 Dan，以及Zon的小孩Simon所共组的家庭故事。 　　原本相处愉快的一家人，因为新邻居的来临而发生一连串的冲突与争吵。Simon因为邻居孩子嘲笑他的爸爸是个女人而与Dan发生争吵，进而牵动一家子的哭笑吵闹。中间穿插Simon与邻居女孩两小无猜的情窦初开，Zoe与母亲，Dan与父亲之间的包容与支持。同志伴侣在周围偏见的恶意下，仍能感受某些善意的温暖与温柔的理解。而其站出来捍卫爱情与家人的的勇气，也令人会心一笑。 　　因为Simon质疑为何他的『爸爸』不是个有屌的男人，而是母亲的女性恋人；于是身为母亲的Zoe便夹处于孩子的疑问与恋人的焦虑之间，一度甚至怀疑自己是否在爱情上做了错误的抉择。而身为孩子的Simon，在无力面对同侪的取笑情况下，进而希盼自己能有一个和别人一样能够『站着小便』的男人父亲。当Zoe告诉他，他其实是自己因为渴望孩子而刻意与男人一夜情的结果，他失控的大叫了….

《不是所有爸爸都站着尿尿》（Tous les papas ne font pas pipi debout ）是一部温馨可爱的小品影片。内容描述两个女同志恋人Zoe和 Dan，以及Zon的小孩Simon所共组的家庭故事。 　　原本相处愉快的一家人，因为新邻居的来临而发生一连串的冲突与争吵。Simon因为邻居孩子嘲笑他的爸爸是个女人而与Dan发生争吵，进而牵动一家子的哭笑吵闹。中间穿插Simon与邻居女孩两小无猜的情窦初开，Zoe与母亲，Dan与父亲之间的包容与支持。同志伴侣在周围偏见的恶意下，仍能感受某些善意的温暖与温柔的理解。而其站出来捍卫爱情与家人的的勇气，也令人会心一笑。 　　因为Simon质疑为何他的『爸爸』不是个有屌的男人，而是母亲的女性恋人；于是身为母亲的Zoe便夹处于孩子的疑问与恋人的焦虑之间，一度甚至怀疑自己是否在爱情上做了错误的抉择。而身为孩子的Simon，在无力面对同侪的取笑情况下，进而希盼自己能有一个和别人一样能够『站着小便』的男人父亲。当Zoe告诉他，他其实是自己因为渴望孩子而刻意与男人一夜情的结果，他失控的大叫了….

在一群朋友的除夕晚会上，一系列疯狂的活动揭露了秘密，伤心了，并导致了令人震惊的结局。

1899年的巴西，废除奴隶制后不久，逝者的亡灵仍在世人间游走。对于苏亚雷斯一家的女人们来说，放弃特权并适应中产阶级生活，令她们濒临疯狂。对于曾经被奴役的伊娜·纳西门托来说，在充满敌意的新世界中与所爱之人重聚，迫使她必须面对真实的自己。在巴西陷入困境的过去和破裂的现在之间，这些女性一边应对命运的巨变，一边试图创造着自己的未来。入围柏林国际电影节主竞赛单元。

1899年的巴西，废除奴隶制后不久，逝者的亡灵仍在世人间游走。对于苏亚雷斯一家的女人们来说，放弃特权并适应中产阶级生活，令她们濒临疯狂。对于曾经被奴役的伊娜·纳西门托来说，在充满敌意的新世界中与所爱之人重聚，迫使她必须面对真实的自己。在巴西陷入困境的过去和破裂的现在之间，这些女性一边应对命运的巨变，一边试图创造着自己的未来。入围柏林国际电影节主竞赛单元。

A film essay about a singular couple, Paco and Manolo, two Catalan photographers from the outskirts of Barcelona, who have been together for thirty years. Both have managed to work as a single photographer and have captured their imagery in the Kink magazine, a very personal photography fanzine with an essentially Mediterranean homoerotic aesthetic. Paco and Manolo’s style can be summarized in simplicity, the use of natural light, abandoned places and simple rooms, managing to record the Sex Appeal of the working class, an unprejudiced mix of aesthetics that goes from Caravaggio to Pasolini. The method of these artists consists in being discreet witnesses of the morbidity and intimacy of those men who contact them (through Social Networks) with the desire to be portrayed naked of all prejudice. The clothes fall, the bodies are freed and the souls end up being captured by the lens of this intensely cultured, cinematic and urban couple.

A film essay about a singular couple, Paco and Manolo, two Catalan photographers from the outskirts of Barcelona, who have been together for thirty years. Both have managed to work as a single photographer and have captured their imagery in the Kink magazine, a very personal photography fanzine with an essentially Mediterranean homoerotic aesthetic. Paco and Manolo’s style can be summarized in simplicity, the use of natural light, abandoned places and simple rooms, managing to record the Sex Appeal of the working class, an unprejudiced mix of aesthetics that goes from Caravaggio to Pasolini. The method of these artists consists in being discreet witnesses of the morbidity and intimacy of those men who contact them (through Social Networks) with the desire to be portrayed naked of all prejudice. The clothes fall, the bodies are freed and the souls end up being captured by the lens of this intensely cultured, cinematic and urban couple.

婆婆李凤兰因贪小便宜沉迷保健品及各类诈骗陷阱，导致家庭陷入危机，李凤兰轻信保健品“雪莲破瘴丹”能治百病，不顾儿媳齐璇反对，在孙子陈天天手术前喂其服用，导致天天术后大出血、器官衰竭，虽经抢救保住性命，却落下活不过三十岁的后遗症。

婆婆李凤兰因贪小便宜沉迷保健品及各类诈骗陷阱，导致家庭陷入危机，李凤兰轻信保健品“雪莲破瘴丹”能治百病，不顾儿媳齐璇反对，在孙子陈天天手术前喂其服用，导致天天术后大出血、器官衰竭，虽经抢救保住性命，却落下活不过三十岁的后遗症。

Among intrusive memories, a woman hears a disconcerting call from the depths of her being. A cryptic cry for help guides her to the original wound, to her inner child, becoming her own protector.