秋千　　十年前，位于京畿道的花谷里村曾接连不断发生残忍的奸杀连环案。村民们渐渐离开此地，村庄变成了荒凉的废墟，甚至连警察也放弃了此案的追查。两年后，此地再未发生此类案件，往昔的惨景也渐渐被遗忘，村民们开始回归，警察也认为这里是安全之地。　　某日，村庄再度发生惨案，两名女大学生被奸杀，恐怖气氛迅速笼罩花谷里。但是警察的搜查毫无头绪。猎鬼人崔江扬言凶案并非人类造成，而是恶灵“汤”所为。警察却不以为然，把崔江看作口出狂言的疯子。　　警察和崔江对凶案各执一词，频频发生摩擦。崔江与恶灵展开对决，但实力显然不济。这时，一位身世神秘的女记者带着捕捉恶灵的摄像机来到村庄，决心挖掘出凶案背后的秘密……

秋千　　十年前，位于京畿道的花谷里村曾接连不断发生残忍的奸杀连环案。村民们渐渐离开此地，村庄变成了荒凉的废墟，甚至连警察也放弃了此案的追查。两年后，此地再未发生此类案件，往昔的惨景也渐渐被遗忘，村民们开始回归，警察也认为这里是安全之地。　　某日，村庄再度发生惨案，两名女大学生被奸杀，恐怖气氛迅速笼罩花谷里。但是警察的搜查毫无头绪。猎鬼人崔江扬言凶案并非人类造成，而是恶灵“汤”所为。警察却不以为然，把崔江看作口出狂言的疯子。　　警察和崔江对凶案各执一词，频频发生摩擦。崔江与恶灵展开对决，但实力显然不济。这时，一位身世神秘的女记者带着捕捉恶灵的摄像机来到村庄，决心挖掘出凶案背后的秘密……

一场精心策划的撞车惨案，让乔妍家破人亡。竹马裴司慕以复仇为名将她推入深渊：家族破产，父母双亡，大哥入狱，而她沦为债主的玩物，在非人折磨中挣扎六年。直到临死前，她意外听见真相——所有悲剧竟是裴司慕为夺家产、娶大嫂而设的局。当癌症晚期的乔妍从天台一跃而下，她留下的日记和真相开始反噬。双目失明、终身瘫痪的裴司慕在监狱医院里终于明白：他亲手摧毁了唯一真心爱他的人，而地狱不在别处，就在每一个想起她的黎明。

沈念前世因无条件溺爱侄子，饱尝家人冷漠与伤害，最终悲惨离世。重获新生，她誓要改变命运。这一世，她决定收起无原则的溺爱，对侄子的行为放任自流，不再让自己重蹈覆辙。她要活出自我，守护自己的幸福，不再让任何人轻易伤害到自己。

Julian inherits a house in West Philadelphia from his grandmother and asks his girlfriend Gwen to move in, although she turns out to be just the first member of the commune that sets up home with him within its brightly coloured walls. Together with the founding couple, the seven-strong collective are soon reciting African-American poetry, reading post-colonial theory, holding seminars on Sudanese languages and enjoying jazz-inflected jam sessions, with the chest of materials on the wider Black experience apparently left behind by the grandmother proving perfect inspiration to this end. With the prominent poster of Godard’s La chinoise hanging in the kitchen, it’s tempting to read their funkily cerebral exploits as pure fiction, yet they’re actually a reenactment of Asili’s own experiences in a Marxist commune. Real life informs the fiction elsewhere too, as members of the MOVE Organization come to speak at the house, the camera alights on significant sites for the Black community outside in the Philadelphia streets and the inevitable petty arguments about house rules rear their head. And maybe that’s the point: theory rubs up against practice and sparks duly fly.

Julian inherits a house in West Philadelphia from his grandmother and asks his girlfriend Gwen to move in, although she turns out to be just the first member of the commune that sets up home with him within its brightly coloured walls. Together with the founding couple, the seven-strong collective are soon reciting African-American poetry, reading post-colonial theory, holding seminars on Sudanese languages and enjoying jazz-inflected jam sessions, with the chest of materials on the wider Black experience apparently left behind by the grandmother proving perfect inspiration to this end. With the prominent poster of Godard’s La chinoise hanging in the kitchen, it’s tempting to read their funkily cerebral exploits as pure fiction, yet they’re actually a reenactment of Asili’s own experiences in a Marxist commune. Real life informs the fiction elsewhere too, as members of the MOVE Organization come to speak at the house, the camera alights on significant sites for the Black community outside in the Philadelphia streets and the inevitable petty arguments about house rules rear their head. And maybe that’s the point: theory rubs up against practice and sparks duly fly.

在浩瀚的宇宙中，地球宛如沧海一粟。在无尽的历史长河中，人类个体的生命犹如同稍纵即逝的火星。但即便生命如此短暂，自私、愤怒、欢乐、嫉妒、喜悦、忧虑、悲伤、恐惧等情感仍左右着人类的行为举止，他们就像生活的奴隶，每天为同样的事情所奴役驱使，而忽略了生命真正的意义。即使在经过几千几万年的进化，这一情况也不会改变…… 　　本片耗时4年，草图达上千张，未采用任何电脑和数字技术，全部由导演Don Hertzfeldt一人完成。荣获2005年德州国际短片暨录影带展观众大奖、2005年Malibu电影节观众奖最佳动画短片奖。

在浩瀚的宇宙中，地球宛如沧海一粟。在无尽的历史长河中，人类个体的生命犹如同稍纵即逝的火星。但即便生命如此短暂，自私、愤怒、欢乐、嫉妒、喜悦、忧虑、悲伤、恐惧等情感仍左右着人类的行为举止，他们就像生活的奴隶，每天为同样的事情所奴役驱使，而忽略了生命真正的意义。即使在经过几千几万年的进化，这一情况也不会改变…… 　　本片耗时4年，草图达上千张，未采用任何电脑和数字技术，全部由导演Don Hertzfeldt一人完成。荣获2005年德州国际短片暨录影带展观众大奖、2005年Malibu电影节观众奖最佳动画短片奖。