For Aichi Triennale 2022, Weerasethakul collaborates with Japanese artists to create his first augmented and virtual reality performance and let visitors commune with invisible ghost-like presences, encounter sick and sleeping bodies, and experience time suspended in a circle. Weerasethakul, whose previous works have brought the invisible, inaudible and untouchable into our realm of the tangible, has greatly expanded the virtual space by making use of augmented and virtual reality. Fifteen audience members at a time are invited into a dark space to roam around, experiencing Weerasethakul’s visual poetry beyond the confines of language, soundscapes of silent waves by Sakamoto Ryuichi, and interactive particles of light floating through the air... They are invited into the depths of memory and existence in a dreamlike world where the origins of life and the afterlife coexist.

My grandfather was Leo Hurwitz. If you don't know this name, it is understandable. Leo Hurwitz is recongnized as one of the founding fathers of the documentary genre. He along with his production company, called Frontier Films, made several very important films including Native Land, seen as one of the greatest documentaries of all time. His was to be a quite successful carear. This all came crashing to a halt, when his name was named by Elia Kazan. He was relegated to small low budget work, none of which ever gained noteriety, as we was forbidden to work on any major project. What makes this worse, is that, though my Grandfather had many socialist ideals, he was not a communist. He was a firm believer in democracy. His carear was ended because someone thought he was communist. Think about that, when you talk about this man.

For Aichi Triennale 2022, Weerasethakul collaborates with Japanese artists to create his first augmented and virtual reality performance and let visitors commune with invisible ghost-like presences, encounter sick and sleeping bodies, and experience time suspended in a circle. Weerasethakul, whose previous works have brought the invisible, inaudible and untouchable into our realm of the tangible, has greatly expanded the virtual space by making use of augmented and virtual reality. Fifteen audience members at a time are invited into a dark space to roam around, experiencing Weerasethakul’s visual poetry beyond the confines of language, soundscapes of silent waves by Sakamoto Ryuichi, and interactive particles of light floating through the air... They are invited into the depths of memory and existence in a dreamlike world where the origins of life and the afterlife coexist.

Amis inséparables, Jeremy et Michel nourrissent une même passion pour la musique, dans laquelle ils espèrent faire carrière. Un jour, le chemin des deux auteurs-compositeurs-interprètes croise celui de Margaux, imprésario à la recherche de jeunes talents. N'ayant rien à perdre, ou si peu - leur emploi de serveur - ils acceptent de faire partie d'un concert organisée par celle-ci. Mais Jeremy est tombé sous le charme de Margaux, dont le mari Peter, écrivain, est retourné aux Etats-Unis en lui laissant leurs deux enfants, Charlotte et Elliott.

内田也哉子访问了6个地方，与6名“对话者”继续对话之旅。

四名不同背景的藝人，包括姜皓文、蔡思貝、余文樂、林盛斌，在近乎沒有別人幫助的情況下，獨自走訪南也門、索科特拉島、澳洲昆士蘭大堡礁及北領地紅土地區，分別探討人生四個重大思考課題︰身在逆境應如何自處？人生最可怕是甚麼？人生為誰而活？性格是否決定命運？在渺無人煙的天地之間，每位藝人都於最真誠、無任何騷擾之下撫心自問，來一場真正的《與天地對話》，對自己敞開真正的心扉。

1984年，连环杀手泰德·邦迪（Ted Bundy）提出帮助调查员罗伯特·凯普尔（Robert Keppel）抓捕“绿河杀手”。这个神秘杀手当时正在华盛顿州西雅图市杀害女性，而10年前，泰德·邦迪也曾在这片土地上残害了众多受害者。凯普尔和邦迪展开了一场猫鼠游戏，这场较量一直持续到邦迪被处决。此外，还有以从未公开过的录音带等形式呈现的独家内容。

The movie is a story told quickly through a series of stills, as in , with quavery synth music and dry French narration..

"The subject of this film is the conversation between a man and a woman. A couple, maybe lovers, maybe married, it doesn't matter. (...) During this conversation, we do not see but the city of Rome. I wanted to transmit that what Rome provokes in me, the feeling of an intrinsic matter, indissoluble, in difference with Paris, made of small parks and open spaces, crossed by the sky and the wind. Hand in hand with the film, the difficulty of the two lovers assumes a clearer, more explicit form. But as much as, in my opinion, it is impossible to describe and film Rome, the difficulty in the love of a couple can never be totally understood." 　　Marguerite Duras, Venice film festival catalogue, 1982.