苏珊娜（Julia Richter 饰）在一家食品店工作，老板艾勒克是一个心地善良对员工十分宽容的老头，不幸的是，某一天，他突然去世了。接手食品店的，是艾勒克的儿子克里斯蒂安（约翰内斯·波兰特 Johannes Brandrup 饰），这个男人野心勃勃而又冷酷自私，刚刚上任没多久，就提出要对食品店的经营模式来一次彻彻底底的改革，这让苏珊娜的心里非常不爽，因此屡屡和克里斯蒂安产生矛盾。 　　苏珊娜的妹妹是一名电话接线员，因为受伤而暂时无法工作，无奈之下，苏珊娜只得暂时代替她上班。没想到，苏珊娜竟然和自己电话那头的客户产生了感情，每一天，他们都通过电话线互诉衷肠。

苏珊娜（Julia Richter 饰）在一家食品店工作，老板艾勒克是一个心地善良对员工十分宽容的老头，不幸的是，某一天，他突然去世了。接手食品店的，是艾勒克的儿子克里斯蒂安（约翰内斯·波兰特 Johannes Brandrup 饰），这个男人野心勃勃而又冷酷自私，刚刚上任没多久，就提出要对食品店的经营模式来一次彻彻底底的改革，这让苏珊娜的心里非常不爽，因此屡屡和克里斯蒂安产生矛盾。 　　苏珊娜的妹妹是一名电话接线员，因为受伤而暂时无法工作，无奈之下，苏珊娜只得暂时代替她上班。没想到，苏珊娜竟然和自己电话那头的客户产生了感情，每一天，他们都通过电话线互诉衷肠。

爱似烈酒封喉

2011年香港亚洲电影节参展动画导演延尚浩，继前作拿「猪」开玩笑，以变态到极点的智慧影射现实的残酷生活后，又一部极具批判性的作品，成为本届多伦多影…

一直以来，季茵茵饱受原生家庭的困扰，母亲早逝，父亲整日游手好闲，沾花惹草，被怀孕的女人找上门索要钱款，为了凑钱，季茵茵父亲竟然想把季茵茵卖给有钱的家暴男，季茵茵趁机逃离，恰巧遇到小混混在摊位上欺负一个中年女人，季茵茵仗义相救，小混混纠缠上季茵茵，此时慕云帆匆匆赶来，原来季茵茵救下的人是慕云帆母亲，患有抑郁症，不喜欢任何人靠近，可是唯独对季茵茵格外亲近，慕云帆很是诧异。与此同时，季茵茵父亲带人赶来为难季茵茵，关键时刻慕云帆出手帮忙。

For mysterious reasons, two watchmen are made to guard access to the river in an area of Lausanne where retirees and immigrant families live. Through the different people they encounter, a territory takes shape and a friendship is born. Tizian Büchi creates a fable—part documentary, part fiction and tinged with magical realism—to subtly question our surveillance society.

For mysterious reasons, two watchmen are made to guard access to the river in an area of Lausanne where retirees and immigrant families live. Through the different people they encounter, a territory takes shape and a friendship is born. Tizian Büchi creates a fable—part documentary, part fiction and tinged with magical realism—to subtly question our surveillance society.

入围塔林电影节影评人之选竞赛。 　　Masterfully orchestrated – with only a small budget, the setting basically consisting of a table, two chairs, two persons talking, one mysterious manuscript and some little food in-between – this two-men drama reminds me of Robert Bresson’s famous words about filmmaking: “Two types of films: those that employ the resources of the theatre (actors, direction, etc.) and use the camera in order to reproduce, and those that employ the resources of cinematography and use the camera to create. (Robert Bresson. “Notes on the Cinematograph”, New York Review of Books, 2016)

入围塔林电影节影评人之选竞赛。 　　Masterfully orchestrated – with only a small budget, the setting basically consisting of a table, two chairs, two persons talking, one mysterious manuscript and some little food in-between – this two-men drama reminds me of Robert Bresson’s famous words about filmmaking: “Two types of films: those that employ the resources of the theatre (actors, direction, etc.) and use the camera in order to reproduce, and those that employ the resources of cinematography and use the camera to create. (Robert Bresson. “Notes on the Cinematograph”, New York Review of Books, 2016)

"末世尸变，陈朔拼尽全力护送女友林小雨与队友前往最后一批救援车。可竹马陆云野的 “牺牲”，成了扎在林小雨心中的刺。她偏执地将所有怨恨倾泻在陈朔身上，亲手将他推向死亡深渊。重生归来，陈朔带着复仇的决心，在腥风血雨中抽丝剥茧，让林小雨逐步看清陆云野伪善面具下，那令人胆寒的丑恶真面目……"