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.

该片讲述了一个摄影师在一次偶然的事故中，变成了性格分裂的精神病患者，从此行为怪异的故事。

该片讲述了一个摄影师在一次偶然的事故中，变成了性格分裂的精神病患者，从此行为怪异的故事。

基于真实改编。本片发生在1960年代的匈牙利，以系列残暴凶杀而出名的小镇马特福。真凶被缉拿归案7年后，凶杀再次降临小镇，手法如出一辙，是误判还是效仿？本片中的社会主义国家匈牙利，存在令人窒息的社会、政治和心理博弈，当局者很快发现自己陷入了错综复杂的阴谋和令人不安的戏剧网络中。

基于真实改编。本片发生在1960年代的匈牙利，以系列残暴凶杀而出名的小镇马特福。真凶被缉拿归案7年后，凶杀再次降临小镇，手法如出一辙，是误判还是效仿？本片中的社会主义国家匈牙利，存在令人窒息的社会、政治和心理博弈，当局者很快发现自己陷入了错综复杂的阴谋和令人不安的戏剧网络中。

安娜·鲍奇是匈牙利一个小镇上的一名文学教师。她的一名学生在观看她推荐的一部关于兰波和魏尔伦之间爱情故事的电影时被发现，这给她带来了灾难性的影响。 　　学生们非常喜欢安娜和她非正统的教学方法——她让文学变得生动，为这个压抑的村庄带来了希望和释放。为了帮助孩子们理解兰 波的诗歌，她建议他们观看《心之全蚀》，这部 1995 年的电影深入探讨了两位作家的同性恋关系。可消息传出后，安娜被指控宣扬同性恋——她是否应该就此放弃教学？如果她留下来，教学还会是什么样子？卡塔林·摩尔多瓦的这部电影发人深省，既是对她的国家的专制政府的尖锐审视，也是对各地教师的赞美。

安娜·鲍奇是匈牙利一个小镇上的一名文学教师。她的一名学生在观看她推荐的一部关于兰波和魏尔伦之间爱情故事的电影时被发现，这给她带来了灾难性的影响。 　　学生们非常喜欢安娜和她非正统的教学方法——她让文学变得生动，为这个压抑的村庄带来了希望和释放。为了帮助孩子们理解兰 波的诗歌，她建议他们观看《心之全蚀》，这部 1995 年的电影深入探讨了两位作家的同性恋关系。可消息传出后，安娜被指控宣扬同性恋——她是否应该就此放弃教学？如果她留下来，教学还会是什么样子？卡塔林·摩尔多瓦的这部电影发人深省，既是对她的国家的专制政府的尖锐审视，也是对各地教师的赞美。

厌倦了同样的浪漫高潮和低谷，萨米想出了一个计划，与汤姆进行为期三周的"恋情"，然后分手。 这个计划没有完全实现。

基于真实改编。本片发生在1960年代的匈牙利，以系列残暴凶杀而出名的小镇马特福。真凶被缉拿归案7年后，凶杀再次降临小镇，手法如出一辙，是误判还是效仿…

因人类的疏忽与过度索取，那个曾孕育幸福、空气与生命的家园崩塌了。宁静与安宁消散殆尽，取而代之的是阴霾与空气污染——这颗星球已不再适合人类与动物生存。然而，不幸中的万幸是，仍有一处孤存之地保有生机，那里空间充裕，足以容纳人类与动物的栖居。 　　四名男子——Iron、Copper、Marduk与Taiyo——在陌生的环境中苏醒。此地毫无现代痕迹，也不见科技踪影。记忆被重置的他们，必须在这片新世界摸索求生。其间，Copper对Marduk暗生情愫，而这份情感亦得到回应；但Iron的存在，却为这段萌芽中的关系埋下了紧张的种子。