Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it. 　　From 1971 to 1973, Ray taught filmmaking where he and his students produced We Can't Go Home Again, an autobiographical film employing multiple superimpositions. In the spring of 1972, Ray was asked to show some footage from the film at a conference. The audience was shocked to see footage of Ray and his students smoking marijuana together. An early version of the film was shown at the Cannes Film Festival in 1973, but Ray, never satisfied with the project, continued editing it until his death in 1979. He secured teaching positions at the Lee Strasberg Institute and New York University with the help of old friends.

Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it. 　　From 1971 to 1973, Ray taught filmmaking where he and his students produced We Can't Go Home Again, an autobiographical film employing multiple superimpositions. In the spring of 1972, Ray was asked to show some footage from the film at a conference. The audience was shocked to see footage of Ray and his students smoking marijuana together. An early version of the film was shown at the Cannes Film Festival in 1973, but Ray, never satisfied with the project, continued editing it until his death in 1979. He secured teaching positions at the Lee Strasberg Institute and New York University with the help of old friends.

Nicholas Ray ended his Hollywood career with his most expensive production, 55 Days in Peking (1963), and followed it ten years later with his least expensive, an experimental and politically radical independent feature made with his film students. Each movie is a shambles, though if I had to choose between them I'd probably opt for this one, which is certainly the more original. Ray and his students play themselves in docudrama situations that culminate in Ray's (fictional) suicide, and often he combines several images into crowded frescoes. The film reeks of countercultural alienation and anguish, and when it premiered at Cannes in 1973, Ray spoke of trying to make "what in our minds is a Guernica" out of such materials as "a broken-down Bolex" and "a Mitchell that costs $25 out of navy surplus." He tinkered with the film for years, and the 1976 date commonly assigned to it refers to a second unfinished version, which, lamentably, is unavailable. It's upsetting in many ways, but as a document of its time there's nothing remotely like it. 　　From 1971 to 1973, Ray taught filmmaking where he and his students produced We Can't Go Home Again, an autobiographical film employing multiple superimpositions. In the spring of 1972, Ray was asked to show some footage from the film at a conference. The audience was shocked to see footage of Ray and his students smoking marijuana together. An early version of the film was shown at the Cannes Film Festival in 1973, but Ray, never satisfied with the project, continued editing it until his death in 1979. He secured teaching positions at the Lee Strasberg Institute and New York University with the help of old friends.

围绕着我们的无数星星并不是一些梦幻般的光芒的闪烁，而是一种可疑信息的熠熠生辉，作品中，“我”进入视野，收集来自虚构研究公司的信息。这是虚构的现实，并将“我自己”保持在虚构的角色中，是一部黑暗的、个人化的短片。

《不能回家的小孩》一片是根据花莲“少年之家”真人真事改编而成，忠实传达一名迷失少年生命的翻转与成长；剧中描述十四岁的少年小志在跷家后，沦为替黑帮贩卖私枪的小孩，被警方送到花莲之家，透过辅导员王哥爱心教导，小志找到了对音乐的兴趣，考上大学，还在乐器行半工半读。 　　现任花莲“少年之家”处长王继心即是片中的王哥，年轻时也曾迷失的他，以“不放弃、不后悔”六字表达对照顾“少年之家”孩子一路走来的坚持。而少年小黑和阿豪，也分享自己在“少年之家”的成长，除了让他们有家的感觉，也在辅导员的协助下，知道自己明天的路怎么走。 　　芥菜种会表示，在花莲地区，触法或中辍少年的安置与辅导，资源十分匮乏；芥菜种会为这些孩子付出努力，经过几十年使用的房舍太过老旧，容纳量也不足，所以计画要兴建新的“少年之家”，但兴建经费高达一亿元，是一笔大负担，盼各界一同来为后山孩子筑一个爱的大家庭。

《不能回家的小孩》一片是根据花莲“少年之家”真人真事改编而成，忠实传达一名迷失少年生命的翻转与成长；剧中描述十四岁的少年小志在跷家后，沦为替黑帮贩卖私枪的小孩，被警方送到花莲之家，透过辅导员王哥爱心教导，小志找到了对音乐的兴趣，考上大学，还在乐器行半工半读。 　　现任花莲“少年之家”处长王继心即是片中的王哥，年轻时也曾迷失的他，以“不放弃、不后悔”六字表达对照顾“少年之家”孩子一路走来的坚持。而少年小黑和阿豪，也分享自己在“少年之家”的成长，除了让他们有家的感觉，也在辅导员的协助下，知道自己明天的路怎么走。 　　芥菜种会表示，在花莲地区，触法或中辍少年的安置与辅导，资源十分匮乏；芥菜种会为这些孩子付出努力，经过几十年使用的房舍太过老旧，容纳量也不足，所以计画要兴建新的“少年之家”，但兴建经费高达一亿元，是一笔大负担，盼各界一同来为后山孩子筑一个爱的大家庭。

本片为中国传媒大学艺术学部动画与数字艺术学院13级学生毕业作品。

为了实现父亲的遗愿 ，从小跟着父亲生活在美国的张缘缘（王真儿 饰）带着女儿回国，恰逢被她认定为“抛弃了自己”的母亲（李萍 饰）被确诊为阿尔兹海默症，张缘缘与女儿一起经历了母亲逐渐失忆的过程。随着现实和记忆的拼凑，张缘缘的思绪去到了80年代，“遇到”了年轻时的母亲（赫林 饰）。年轻时的母亲不仅样貌出众，学习更是拔尖，而年轻时的父亲是那么不起眼，在刚恢复高考的那年，母亲本该走出一条更光明的人生，但一次意外，彻底改变了母亲、父亲以及张缘缘的人生轨迹。

影片聚焦中国式母女关系中“牺牲与缺席”的复杂情感，讲述了因童年分离而对母亲心生隔阂的张缘缘，与身患阿尔茨海默症的母亲重逢，在与母亲或清醒或失智的相处过程中，意外解开了母亲隐藏一生的谜题。

本片为中国传媒大学艺术学部动画与数字艺术学院13级学生毕业作品。