位于禁地里的一座小村子内，有一位年轻帅气的“凡人小哥”，为了能早日修仙每天靠完成系统任务获得各种农作物种子和工具，种花种菜种树，养鱼养鸡养狗，打猎野兽等，但他不知道的是，这些在他认为平平无奇的东西，对于修仙者来说可谓是圣物，而他全然不知，自己的修为已达到了境界！

位于禁地里的一座小村子内，有一位年轻帅气的“凡人小哥”，为了能早日修仙每天靠完成系统任务获得各种农作物种子和工具，种花种菜种树，养鱼养鸡养狗，打猎野兽等，但他不知道的是，这些在他认为平平无奇的东西，对于修仙者来说可谓是圣物，而他全然不知，自己的修为已达到了境界！

Working with rushes and film footage, Jean-André Fieschi and Françoise Etchegaray (former assistant to Eric Rohmer) compose a second fiction of A Summer’s Tale: an invitation to enter into the making of cinema’s reality and discover a second tale. 　　------- 　　On Dinard beach, one Sunday in the heat of July. In the usual summer torpor, a group of young men and women are bustling with activity. What they are doing normally catches the eye, but no-one seems to be paying them any attention. They are obviously amateurs, as one expert passer-by will diagnose. These young people are flanked by a curious participant, clearly much older, yet always alert or active. Nosferatu at the beach? He is shaded from the sun by some ingenious tulle or straw contraptions and is surveying everything: it is he who operates the clap before each shot, manages the flow of people and keeps passersby away from the camera as it advances. He spryly removes an ill-placed waste bin from out of the camera field, and promptly scours the Saint-Lunaire beach at low tide just before the shoot. Or again, there is he rubbing sun lotion onto a young actress’s back. 　　He never raises his voice, sometimes seems very hesitant. Yet, the speed of his decisions can be stunning. No pretence of total control in all that, quite the contrary. 　　No cinema. 　　(But one will discover that everything hangs together in this economy). 　　Doubtless, none of the inattentive holidaymakers suspects that, under their distracted gaze, one of the most admired, the most famous, the most internationally reviewed and also one of the «youngest» filmmakers is at work. Transparent, invisible. 　　La Fabrique du Conte d’été is a journey into film and what a film weaves for «reality’s seamless robe», to quote the canonical, yet ever fresh formula of Saint-Bazin of Nogent. What indeed is mise en scène? 　　--- Jean-André Fieschi

Working with rushes and film footage, Jean-André Fieschi and Françoise Etchegaray (former assistant to Eric Rohmer) compose a second fiction of A Summer’s Tale: an invitation to enter into the making of cinema’s reality and discover a second tale. 　　------- 　　On Dinard beach, one Sunday in the heat of July. In the usual summer torpor, a group of young men and women are bustling with activity. What they are doing normally catches the eye, but no-one seems to be paying them any attention. They are obviously amateurs, as one expert passer-by will diagnose. These young people are flanked by a curious participant, clearly much older, yet always alert or active. Nosferatu at the beach? He is shaded from the sun by some ingenious tulle or straw contraptions and is surveying everything: it is he who operates the clap before each shot, manages the flow of people and keeps passersby away from the camera as it advances. He spryly removes an ill-placed waste bin from out of the camera field, and promptly scours the Saint-Lunaire beach at low tide just before the shoot. Or again, there is he rubbing sun lotion onto a young actress’s back. 　　He never raises his voice, sometimes seems very hesitant. Yet, the speed of his decisions can be stunning. No pretence of total control in all that, quite the contrary. 　　No cinema. 　　(But one will discover that everything hangs together in this economy). 　　Doubtless, none of the inattentive holidaymakers suspects that, under their distracted gaze, one of the most admired, the most famous, the most internationally reviewed and also one of the «youngest» filmmakers is at work. Transparent, invisible. 　　La Fabrique du Conte d’été is a journey into film and what a film weaves for «reality’s seamless robe», to quote the canonical, yet ever fresh formula of Saint-Bazin of Nogent. What indeed is mise en scène? 　　--- Jean-André Fieschi

“Praise be to the cinema: the law is not said, it is seen and heard. A story is born and given to us. This is how, through an image, life is resuscitated”. (Jean-Luc Godard, 1985)

“Praise be to the cinema: the law is not said, it is seen and heard. A story is born and given to us. This is how, through an image, life is resuscitated”. (Jean-Luc Godard, 1985)

某座住宅区，负责公寓内各项维修事务的菲恩（Matt O'Leary 饰）和约瑟（George Finn 饰）是一对穷的叮当响的好基友。某天菲恩的女友凯莉（Danielle Panabaker 饰）来到他们的住处，当得知住在隔壁的贝先生已经很长时间没走出房门时，凯莉自告奋勇上门查看，结果却一脸错愕地回到二人面前。原来贝先生早已不见踪影，房间内一面墙贴满了以三个人为对象的拍立得照片，窗口则有一台奇怪的机器正对着菲恩和约瑟的房间。不久后他们发现，那台机器竟是可以拍摄到未来情景的照相机。他们发现了贝先生的尸体，然而因为照相机的原因秘藏了此事。 　　无意间拥有了窥视未来的手段，年轻人们的心不知不觉躁动起来……

All that film is can be reduced to two elements: light and (proportionately structured) movement. And there are many possible answers to the question of what light and proportionate movement are. In REALTIME, Siegfried Fruhauf has decided on the most simple one, summing it up in the most symbolically unequivocal and, literally, most illuminating way: the sun. The light of the sun is the only type of lighting used to illuminate the movie screen in REALTIME. And the sunrise, filmed in realtime, is the only discernible motion – which makes us realize that all motion, in film and in the cosmos, is temporal. Everything else about film is negotiable, such as the fuzzy area between (justified) expectation and (actual) fulfillment, which is known as suspense. After the moving electric arc on the screen has been revealed to be a heavenly body, we have every reason to believe that it will continue its forward motion in an absolutely constant orbit. At the same time, we eagerly ask at which point (and/or through which points) the filmmaker will remove his gaze from it. Or the soundtrack, which also represents an arbitrary matter, and which is called music in the most arbitrary of cases. The irreversible movement of Fruhauf´s protagonist is accompanied by the groove of a playfully altered pop song – the absolute meter is subordinated to a moment of subjective duration. REALTIME returns the possibilities available to film to their absolute zero – and provides a clever hint at what can be reimagined proceeding from this point (and on to eternity).

色情制片人Vinnie在拍摄他最新的硬核电影时忙得不可开交：竞争对手Garrick试图篡夺他制片厂负责人的地位，而无情且有理想的新星Hanna则利用勒索来获得主角。

色情制片人Vinnie在拍摄他最新的硬核电影时忙得不可开交：竞争对手Garrick试图篡夺他制片厂负责人的地位，而无情且有理想的新星Hanna则利用勒索来获得主角。