Lu Pan and Yu Araki share home video-footage of their 90s childhoods in all their funny, celebratory, awkward and banal glory. Edited together remotely during the pandemic, the two artists discuss early home video technology, the social status of this footage in different contexts (both migrated as children), and also how these images were made and circulated. Their playful yet insightful conversation stitches the chaotic footage together and gives new life to a nostalgic form of cinema.

Lu Pan and Yu Araki share home video-footage of their 90s childhoods in all their funny, celebratory, awkward and banal glory. Edited together remotely during the pandemic, the two artists discuss early home video technology, the social status of this footage in different contexts (both migrated as children), and also how these images were made and circulated. Their playful yet insightful conversation stitches the chaotic footage together and gives new life to a nostalgic form of cinema.

Lu Pan and Yu Araki share home video-footage of their 90s childhoods in all their funny, celebratory, awkward and banal glory. Edited together remotely during the pandemic, the two artists discuss early home video technology, the social status of this footage in different contexts (both migrated as children), and also how these images were made and circulated. Their playful yet insightful conversation stitches the chaotic footage together and gives new life to a nostalgic form of cinema.

An all-knowing interlocutor guides us through a series of affairs in Vienna, 1900. A soldier meets an eager young lady of the evening. Later he has an affair with a young lady, who becomes a maid and does similarly with the young man of the house. The young man seduces a married woman. On and on, spinning on the gay carousel of life.

An all-knowing interlocutor guides us through a series of affairs in Vienna, 1900. A soldier meets an eager young lady of the evening. Later he has an affair with a young lady, who becomes a maid and does similarly with the young man of the house. The young man seduces a married woman. On and on, spinning on the gay carousel of life.

受阿瑟·施尼茨勒 (Arthur Schnitzler) 小说《La Ronde》的启发，许多人以各种方式进行性行为。一个女孩和她的男朋友去泳池酒吧，在那里，一位想和她约会的男人免费为她提供了一杯鸡尾酒。另一个男人向她的男朋友发起了一场游戏挑战，奖品是女朋友。三名男子正在争夺这位年轻女子，胜者赢得了女孩。最终四个男人和一个女人在酒店房间里。

导演把剧作家Arthur Schnitzler的戏剧第二次搬上大荧幕（第一次是由德国电影导演奥夫尔斯Max Ophuls操刀）。讲述的是几对恋人互相交换伴侣，在连场不断的的风流韵事中享受真正的情欲快感。 　　 　　获：1966年金球奖最佳外语片提名

导演把剧作家Arthur Schnitzler的戏剧第二次搬上大荧幕（第一次是由德国电影导演奥夫尔斯Max Ophuls操刀）。讲述的是几对恋人互相交换伴侣，在连场不断的的风流韵事中享受真正的情欲快感。 　　 　　获：1966年金球奖最佳外语片提名

《轮舞曲》做为TBS台庆五十周年作品，请来了竹野内丰与崔智友担任男、女主角，共同打造一个跨越国界的爱恨情仇的故事。《轮舞曲》有点类似香港的《无间道》，讲述男主人公金山琢己在黑帮当卧底的故事。金山琢己是一名打入日本恐怖组织“神狗”帮的卧底，父亲多年前被“神狗”帮的人打死，他亲眼看到那一幕情景，发誓要抓获这群无恶不作的黑帮分子，并从此养成了沉着冷静、坚强又略微孤僻的性格。他在黑帮当了三年卧底，但由于对方组织严密，所以极难获取重大信息，他唯有在微弱的期盼中一步一步走下去。允儿和妹妹来自韩国，为了寻找父亲，她们来到了日本，以打工为生，并在偶然中认识了金山，虽然初次的相遇并不友好，语言也不通，但是他们还是渐渐了解了对方的一些情况。故事于是延着这两条主线紧张、刺激的延续了下去……

《轮舞曲》做为TBS台庆五十周年作品，请来了竹野内丰与崔智友担任男、女主角，共同打造一个跨越国界的爱恨情仇的故事。《轮舞曲》有点类似香港的《无间道》，讲述男主人公金山琢己在黑帮当卧底的故事。金山琢己是一名打入日本恐怖组织“神狗”帮的卧底，父亲多年前被“神狗”帮的人打死，他亲眼看到那一幕情景，发誓要抓获这群无恶不作的黑帮分子，并从此养成了沉着冷静、坚强又略微孤僻的性格。他在黑帮当了三年卧底，但由于对方组织严密，所以极难获取重大信息，他唯有在微弱的期盼中一步一步走下去。允儿和妹妹来自韩国，为了寻找父亲，她们来到了日本，以打工为生，并在偶然中认识了金山，虽然初次的相遇并不友好，语言也不通，但是他们还是渐渐了解了对方的一些情况。故事于是延着这两条主线紧张、刺激的延续了下去……