FAT is the graduation film of three students from Supinfocom

◎简　　介 父亲搞上儿子的放荡的女友，大胸后妈用身体来安慰年轻的儿子...

两名女子因体重而受到无情羞辱，于是前往伦敦，试图证明梦想的重量才是最重要的。

本片探索了一个孩子与一个男人的内心世界，以及他们与父亲之间的关系。 当他的父亲病重时，在城里当厨师的图尔加回到了他的村庄。 不久之后父亲去世，他决定留下来完成向父亲承诺的收割工作。 在外地干活时，他遇到了一个十岁的男孩，他独自和祖父母住在一起，而他的单亲母亲则在城里工作。而图尔加与对男孩的关心和他们之间的关系则促使他们挑战自身。

Shaman’s Quest is a series of stories about a guy called Tuck, who solves usual problems by unusual means. Being neighbors with a giant pelican, surviving the attack of a huge mammoth, global warming, dealing with a snowman, moving to a new iceberg - this is Tuck’s everyday routine. His deer and tambourine help him survive through these troubles and keep his wool on. In worst-case scenarios there is also a hypno-shaman who lives on a mountain and who can rescue Tuck. 简单来说就是：描述生活在冰原上的俄罗斯战斗民族萨满一家，和他们彪悍的生活日常。

在酒店工作的依依（李亦捷 饰），正帮父亲（罗思琦 饰）偿还债务。她与无心经营自家车行的男友阿贸（巫建和 饰），计划离开各自家庭，开启新生活。原本只是暂住在车行的依依，在与陌生的阿贸母亲美满（陈夙雰 饰）朝夕相处中，逐渐揭开了这对母子不愿提及的过往伤痛。这也让依依原本坚定的离家决心开始动摇。

暂无剧情简介

2010年度ピンク大賞ベストテンに選出された、稲見亜矢主演によるピンク映画。人間の寿命“命のロウソク”の番人を務める天使のテンコ。短命の○校生・麻美と天寿を全うする熟年主婦・景子、それぞれのSEXを覗き見ていた彼女は興奮してしまい…。

In an effort to do something different| four friends head into Australia's outback to explore Charlie's Farm| the site where a violent family met their end at the hands of an angry mob. Despite all warnings| they persist in their horror-seeking adventure.

A portrait of an art institution as a cinematic landscape: in a succession of static shots, James Benning explores the buildings and terrain of the California Institute of the Arts, where he teaches. A series of views of nature filmed in the surrounding park and woods transitions into images of floors, seating areas and other details of a public building not meant for show. In both parts, an uncanny feeling dominates: the geometries of nature, the dark green and brown tones, the rushing of the highway in the background on the one hand and the humming of halogen lamps, the sound of steps in an otherwise seemingly empty school on the other – it all seems to be hiding a secret. The camera’s gaze is almost always restricted; it rarely penetrates very far into the image. It discovers shabby corners, observing scenarios more reminiscent of a mystery novel than the campus of an art institution. More so than in the majority of James Benning’s longer works of recent years, a narrative lies concealed within the images; every shot creates an urge to move forward, a tension, almost as if the landscapes and interiors were the scenes of a crime.